Orientador: Tania da Costa Garcia / Resumo: A vitória de Salvador Allende – candidato pela Unidade Popular (UP) – nas eleições presidenciais chilenas de 1970 trouxe consigo o imperativo de construir uma “nova cultura” e um “homem novo”, objetivo que gerou intensos debates no meio intelectual. Tendo no horizonte a perspectiva de influir na formulação de políticas culturais oficiais, diversos cientistas sociais, escritores, artistas e militantes dos partidos integrantes da UP procuraram postular suas bases, revelando posições heterogêneas e inclusive contraditórias nas discussões sobre o papel que deveriam assumir os “trabalhadores da cultura” na Via chilena ao socialismo. Centrando-se no debate cultural travado no interior da esquerda, a presente tese busca mapeá-lo de modo a situar os discursos e a produção artística ligada ao movimento da Nova Canção Chilena (NCCh), a fim de demonstrar que, no contexto estudado, os músicos foram parte da intelectualidade engajada. A análise realizada se pautou principalmente na imprensa governista e nos discos lançados entre 1970 e 1973, verificando como as principais tendências observadas no debate cultural se manifestaram no movimento; até que ponto os posicionamentos defendidos pelos músicos estiveram afinados com os propósitos governamentais; e se eles de fato chegaram a influenciar as políticas culturais debatidas e levadas a cabo pela UP entre 1970 e 1973. Buscamos, a partir daí, compreender quais elementos contribuíram para a identificação da NCCh com os novos valores propostos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The victory of Salvador Allende – Popular Unity’s (UP) candidate – in the 1970 Chilean presidential elections brought the imperative of constructing a “new culture” and a “new man”, generating intense debates in the intellectual environment. With the prospect of influencing the formulation of official cultural policies, several social scientists, writers, artists and activists of the UP member parties sought to postulate their bases, revealing heterogeneous and even contradictory positions in the discussions about the role that the “workers of culture” should play on the Chilean way to socialism. Focusing on the cultural debate within the left, the present thesis seeks to map it in order to situate the discourses and the artistic production linked to the Chilean New Song movement (NCCh), in order to demonstrate that, in the context studied, the musicians were part of the commited intelligentsia. The analysis was based mainly on the government-friendly press and the discs released between 1970 and 1973, verifying how the main trends observed in the cultural debate were manifested in the movement; the extent to which the positions defended by the musicians have been in tune with governmental purposes; and if they have in fact influenced the cultural policies debated and pursued by the UP between 1970 and 1973. From that, we sought to understand what elements contributed to the identification of the NCCh with the new values proposed by the political leaders, allowing the movemen... (Complete abstract click electronic access below) / Doutor

Submitted by NATÁLIA AYO SCHMIEDECKE null (nati.ayo@gmail.com) on 2017-06-20T14:17:38Z No. of bitstreams: 1 Tese - Natália Ayo Schmiedecke.pdf: 3365020 bytes, checksum: 227224636cc463e4d693dd4688163243 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-06-21T13:52:57Z (GMT) No. of bitstreams: 1 schmiedecke_na_dr_fran.pdf: 3365020 bytes, checksum: 227224636cc463e4d693dd4688163243 (MD5) / Made available in DSpace on 2017-06-21T13:52:57Z (GMT). No. of bitstreams: 1 schmiedecke_na_dr_fran.pdf: 3365020 bytes, checksum: 227224636cc463e4d693dd4688163243 (MD5) Previous issue date: 2017-05-26 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A vitória de Salvador Allende – candidato pela Unidade Popular (UP) – nas eleições presidenciais chilenas de 1970 trouxe consigo o imperativo de construir uma “nova cultura” e um “homem novo”, objetivo que gerou intensos debates no meio intelectual. Tendo no horizonte a perspectiva de influir na formulação de políticas culturais oficiais, diversos cientistas sociais, escritores, artistas e militantes dos partidos integrantes da UP procuraram postular suas bases, revelando posições heterogêneas e inclusive contraditórias nas discussões sobre o papel que deveriam assumir os “trabalhadores da cultura” na Via chilena ao socialismo. Centrando-se no debate cultural travado no interior da esquerda, a presente tese busca mapeá-lo de modo a situar os discursos e a produção artística ligada ao movimento da Nova Canção Chilena (NCCh), a fim de demonstrar que, no contexto estudado, os músicos foram parte da intelectualidade engajada. A análise realizada se pautou principalmente na imprensa governista e nos discos lançados entre 1970 e 1973, verificando como as principais tendências observadas no debate cultural se manifestaram no movimento; até que ponto os posicionamentos defendidos pelos músicos estiveram afinados com os propósitos governamentais; e se eles de fato chegaram a influenciar as políticas culturais debatidas e levadas a cabo pela UP entre 1970 e 1973. Buscamos, a partir daí, compreender quais elementos contribuíram para a identificação da NCCh com os novos valores propostos pelos dirigentes políticos, permitindo que o movimento se consagrasse nacional e internacionalmente como o principal referente cultural da esquerda chilena. / The victory of Salvador Allende – Popular Unity’s (UP) candidate – in the 1970 Chilean presidential elections brought the imperative of constructing a “new culture” and a “new man”, generating intense debates in the intellectual environment. With the prospect of influencing the formulation of official cultural policies, several social scientists, writers, artists and activists of the UP member parties sought to postulate their bases, revealing heterogeneous and even contradictory positions in the discussions about the role that the “workers of culture” should play on the Chilean way to socialism. Focusing on the cultural debate within the left, the present thesis seeks to map it in order to situate the discourses and the artistic production linked to the Chilean New Song movement (NCCh), in order to demonstrate that, in the context studied, the musicians were part of the commited intelligentsia. The analysis was based mainly on the government-friendly press and the discs released between 1970 and 1973, verifying how the main trends observed in the cultural debate were manifested in the movement; the extent to which the positions defended by the musicians have been in tune with governmental purposes; and if they have in fact influenced the cultural policies debated and pursued by the UP between 1970 and 1973. From that, we sought to understand what elements contributed to the identification of the NCCh with the new values proposed by the political leaders, allowing the movement to be nationally and internationally consecrated as the main cultural reference of the Chilean left. / FAPESP: 2014/04406-4

Submitted by Rafael Rodrigues Cavalcante null (rafacaval29@hotmail.com) on 2016-10-10T21:23:27Z No. of bitstreams: 1 DISSERTAÇÃO RAFAEL CAVALCANTE FINALIZADA.pdf: 1261934 bytes, checksum: 4178a7e495a9d9ad349c3418ca8d362f (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-10-17T15:47:11Z (GMT) No. of bitstreams: 1 cavalcante_rr_me_franca.pdf: 1261934 bytes, checksum: 4178a7e495a9d9ad349c3418ca8d362f (MD5) / Made available in DSpace on 2016-10-17T15:47:11Z (GMT). No. of bitstreams: 1 cavalcante_rr_me_franca.pdf: 1261934 bytes, checksum: 4178a7e495a9d9ad349c3418ca8d362f (MD5) Previous issue date: 2016-10-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Durante a década de 1960, surgiu no Chile a Nova Canção Chilena (NCCh). Seus integrantes, oriundos principalmente das classes média e baixa do país, mantinham, em sua maioria, intensas relações com a esquerda, o que contribuiu para a caracterização do movimento a partir de suas conexões com a política. Com o golpe militar chileno de 11 de setembro de 1973, os artistas da NCCh passaram a ser vistos como uma ameaça ao regime ditatorial de Augusto Pinochet e foram obrigados a se exilarem. Com base na produção discográfica dos conjuntos Quilapayún e Inti-Illimani no exílio, temos por objetivo investigar as permanências e/ou mudanças ideológicas sofridas pela NCCh, e analisar as táticas de resistência e condições de sobrevivência que o movimento encontrou para permanecer ativo e prosperar durante o exílio. / During the 1960s, arose in Chile the New Chilean Song (NCCh). Its members, mostly coming from the middle and lower classes of the country, kept, most of them, intense relationships with the left political ideology, which contributed for the characterization of the movement from its connections with politics. With the military coup of 11 September 1973, the artists of NCCh were seen as a threat to the dictatorship of Augusto Pinochet and were forced into exile. Based on the record production of Quilapayún and Inti-Illimani sets in exile, we aim to investigate the ideological permanence and/or changes suffered by NCCH, and analyze the tactics of resistance and survival conditions that the movement found to remain active and prosper in exile.