CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A presente investigaÃÃo cientÃfica tem o intuito de discutir a comunicaÃÃo popular comunitÃria no Ãmbito dos movimentos sociais populares, construÃda tendo como suporte a Internet. O objeto de estudo escolhido foi o site do bairro Ellery (www.bairroellery.com.br). A escolha se justifica devido Ãs relaÃÃes de proximidade que havia forjado anteriormente, atravÃs de outras pesquisas realizadas, ao fato do site do bairro Ellery ser um dos mais antigos sites de bairro de Fortaleza e, ainda, pelo histÃrico que o bairro tem em torno da produÃÃo da comunicaÃÃo popular comunitÃria em um contexto de lutas sociais. O objetivo central à compreender as caracterÃsticas que essa comunicaÃÃo passa a ter quando construÃda em uma plataforma digital. Empreendi um estudo de caso do site do bairro Ellery procurando, entretanto, analisar nÃo apenas o virtual - o site - mas tambÃm o concreto, ou seja, o lugar onde este surgiu. Interessa-me lanÃar um olhar para o cotidiano de produÃÃo dessa mÃdia, no sentido de melhor compreender as conquistas e desafios dos atores sociais que a produzem. O olhar para o concreto foi construÃdo a partir do uso do mÃtodo etnogrÃfico e para anÃlise do site, fiz uso de uma vertente deste mÃtodo, a etnografia virtual. LanÃei mÃo, ainda, do uso de entrevistas, optando pela entrevista antropolÃgica. / This research aims to discuss communication popular community within popular social movements, built and supported by the Internet. The object of study was the chosen site of the neighborhood Ellery (www.bairroellery.com.br). The choice is justified because of the close relationships they had forged earlier by other surveys, the fact that the site of the district Ellery be one of the oldest sites in the neighborhood of Fortaleza, and also by the historic neighborhood has around Community production of popular communication in a context of social struggles. The main objective is to understand the characteristics that communication is replaced when built on a digital platform. Undertook a case study of the site\'s neighborhood looking Ellery, however, consider not only the virtual - the site - but also the concrete, ie, the place where it arose. It interests me a glimpse into the daily production of this media in order to better understand the achievements and challenges of social actors who produce it. The look for the concrete was constructed from the use of the ethnographic method and site analysis, I use a part of this method, the virtual ethnography. Threw hand, still, the use of interviews, opting for anthropological interview.

Herança basicamente portuguesa, as festas religiosas no Brasil ganharam contornos populares, sendo de grande importância para a formação da cultura popular e para a identidade nacional. Em Ilhabela, litoral norte do Estado de São Paulo, a Festa de São Benedito que tem com ponto máximo a apresentação da Congada de São Benedito vem sendo realizada há mais de cento e cinquenta anos, sem nunca ter sido interrompida. Esta festa recebeu grande influência africana e não se tornou mero entretenimento, mantendo sua tradição como uma manifestação de grande religiosidade popular, onde o sagrado e o profano estão interligados em uma demonstração de fé e solidariedade que atravessa gerações e se constitui em significativo patrimônio imaterial brasileiro. Deve-se compreender que não só o governo deve atuar como co-responsável no comprometimento pela preservação e salvaguarda desse bem cultural, mas também toda a comunidade local, verdadeira detentora do saber e da qual depende a efetiva prática da transmissão para as futuras gerações. Neste trabalho foi realizada uma pesquisa bibliográfica e exploratória, buscando-se um referencial teórico para a compreensão e elucidação dos fatos, sem desprezar o registro da memória coletiva obtido através de entrevistas abertas realizadas com os detentores da festa. / Inheritance basically Portuguese, the religious parties in Brazil, earn popular profile, being very important to the popular culture development and national identity. In Ilhabela, north coast of São Paulo State, São Beneditos Party which has as a culminating point the São Beneditos Congada has being realized an hundred fifty years ago, without any interruption. This party received great African influence and didnt become a simple entertainment, keeping its tradition as a manifestation of great popular religiosity, where the sacred and the profane were connected in a faith and solidarity proof, which passes along generations and consists of a Brazilian immaterial patrimony. We must understand that not only the government must acts as the responsible under an engagement for the preservation and safeguard of this cultural resource, but also the whole local community, the truth owner of the knowledge and from whom depend the effective practice on the transmission for the future generations. This study realized a bibliographic and inquiry research, looking for a theoretic reference to the understanding and elucidation of the facts, without despising the collective memory register obtained through opened interviews made with the party owners.

O tema central desta pesquisa é a democratização do acesso ao ensino superior. Pensar a universidade pública brasileira e seu acesso às classes populares é uma tarefa que me implica como pesquisador e sujeito político. Articulando as dimensões ontológicas, epistemológicas e metodológicas, situo minha atividade de pesquisa a partir do campo da Educação Popular. Nesse sentido, tomo a recente experiência de conquista e instalação da Universidade Federal da Fronteira Sul (UFFS), em especial, do Campus Erechim, Rio Grande do Sul, como um “inédito-viável” e procuro discutir os desdobramentos da presença das classes populares na nova universidade, tendo em vista o projeto “popular” que acompanha a gênese da universidade que emerge no cenário educacional brasileiro. Considero que uma nova universidade não nasce no vazio, por isso, situo os primeiros passos da instituição presente nos três estados da região sul do país a partir do contexto do ensino superior em nível nacional e regional, dos propósitos do Plano de Reestruturação e Expansão das Universidades Federais (REUNI), política pública constituída em 2007, e do papel exercido pelo Movimento Pró-Universidade, que é um coletivo de movimentos sociais com atuação na Mesorregião da Grande Fronteira do MERCOSUL. Contudo, nesta pesquisa não procuro realizar uma avaliação da política governamental de expansão da universidade pública e nem historicizar o processo que culminou com a criação da UFFS, mas meu principal objetivo é interpretar a presença da UFFS/Erechim na região do Alto Uruguai gaúcho a partir da compreensão daqueles que historicamente estavam “fora” da universidade: os estudantes do interior do país, de estratos da classe trabalhadora e frequentadores da escola pública. Entendo que mesmo os estudantes que ingressaram na universidade nos seus primeiros três anos (2010-2012) estão, do ponto de vista material e simbólico, “fora” do padrão tradicional do universitário de instituição pública federal. Considero que a relevante presença de estudantes oriundos da escola pública e a instalação de Campus universitário em cidades médias e pequenas do sul do Brasil, nos oferta um interessante cenário que precisa ser sustentado politicamente e entendido cientificamente. Pela minha condição de parte do processo, estranho esse familiar chamado UFFS/Erechim e procuro ouvir as vozes e os silêncios das pessoas que compartilham da possibilidade de realização do projeto popular de universidade. Para essa escuta sensível das classes populares dos municípios que integram a 15ª Coordenadoria Regional de Educação (CRE), adotei três ações: 1) fui até uma amostra de escolas públicas e dialoguei com os estudantes concluintes do ensino médio em 2013; 2) realizei uma pesquisa exploratória acerca do perfil dos calouros da UFFS/Erechim em 2012; 3) examinei dez memoriais formativos de estudantes de origem popular e bolsistas do PET/Conexões de Saberes, que ingressaram na universidade federal em seus dois primeiros processos seletivos. Dessa forma, este trabalho de pesquisa-ação sinalizou para as contradições presentes na relação das classes populares da região com a nova universidade pública. Se por um lado a universidade é gratuita e mais perto do local da moradia, por outro lado as necessidades imediatas de sustento material combinada com a baixa autoestima não tornam, de fato, o acesso ao ensino superior uma tarefa simples. / Democratization of access to higher education is the main theme of this research. Thinking about Brazilian public university and its access to the popular classes is a work that involves me as a researcher and political person. Articulating the ontological, epistemological and methodological dimensions, I place my research activity in the field of Popular Education. This way, I have the recent experience achievement and installation of the Universidade Federal Fronteira Sul (UFFS), in particular, the Erechim Campus, Rio Grande do Sul, as an "untested feasibility" and I try to discuss the widespread presence of the popular classes in the new university, having the view of the "popular" project that accompanies the genesis of the university that emerges in the Brazilian educational scenario. I believe that a new university is not born in a vacuum, that’s why, I set the first steps of the present institution in the three states of the southern region of the country, beginning from the higher education context at the national and regional level; from the purposes of the Plano de Reestruturação e Expansão das Universidades Federais (REUNI), public politics established in 2007; and also from the role played by University Pro- Movement, which is a collective of social movements working in the Greater Region of the Great Frontier of MERCOSUR. However, in this research I do not try to perform an evaluation of the government's policy of expanding public university, nor do I try to list the historical process that culminated in the creation of UFFS, but my main aim is to interpret the presence of UFFS/Erechim in the Upper Uruguay gaucho region from understanding of those who were historically "outside" the university: students from the countryside, from the stratum working class and public school goers. I understand that even students who entered the university in its first three years (2010-2012) are; from the material and symbolic standpoint; "outside" the traditional standard of university students of federal public institution. I believe that the significant presence of students from public schools and the University campus facility in medium and small cities in southern Brazil, gives us an interesting scenario that needs to be sustained, politically and scientifically understood. For my condition of part of the process, I find the family called UFFS/Erechim strange, so I try to hear the voices and silences from people who share the possibility of performing the popular university project. For this sensitive listening of popular classes from cities that make up the 15th Regional Coordination of Education (CRE), I adopted three actions: 1) I went to a sample of public schools and dialogued with the graduating high school students in 2013, and 2) I conducted an exploratory research on the profile of freshmen UFFS/Erechim in 2012, 3) I examined ten training memorials of students and scholars from popular origin of PET/Conexões de Saberes, who joined the federal university in their first two selection processes. Thus, this research - action signaled the contradictions present in the relationship of the popular classes in the region with the new public university. If on one hand the university is free and closer to the house, on the other side the immediate needs for material support combined with low self-esteem do not make it, in fact, access to higher education a simple task.

Made available in DSpace on 2017-07-10T17:55:45Z (GMT). No. of bitstreams: 1 Carla Michele Ramos Torres.pdf: 1256783 bytes, checksum: 4f09a66b6249d348b64c02646ccfa3ed (MD5) Previous issue date: 2008-08-26 / This study purposed to analyze the Popular Center of Culture of the national Union of the Students (CPC of the UNE) through the theater, in the period of its actuation between the years 1961 and 1964. The theater works is understood as a way of expression of the cultural practices of the social people from a determined epoch for this reason it presents in this research as an object of study and as historical source. We try to show how the history of this entity was being built during decades, such for researches as for its ex components through registered speeches. This way, when looking at the entity from the present questions, the several authors were appreciating some particulars from this group. To contextualize the theories and the practices of the CPC of the UNE, we examined the documentation produced by the group, such documentation very restricted, and the conceptions developed in the period by its members. We got to the conclusion that the CPC's universe was heterogeneous, it means, there were different concepts of art, of politics and of people. With the intention of amplifying the debates about the national theater and the popular theater, we observed the question which were discussed in Brazil in the epoch before the entity building, to understand its actuation in intellectual spaces, since the end of the 50's. We noticed that the CPC, in spite of the expression CPC of the UNE , didn't appear from the students' projects but from the aspiration which existed in the Arena Theater of amplifying the public and projecting on the stage subjects which expressed the national reality. The CPC's drama was studied with the aim of the comprehension how the authors of the theatrical texts conceived the office of theater. For it, we emphasize in the thematic plays, the characters' the representations, the language, the scene elements and the use of the narrative resource. This dissertation is inserted in the discussion of the popular culture, because in the theatrical works exist political conceptions, definitions of people and aesthetic referral back to an effective communication with the public / Este estudo propôs analisar o Centro Popular de Cultura da União Nacional dos Estudantes (CPC da UNE), no período de sua atuação, entre os anos de 1961 e 1964, através do teatro. A obra teatral é compreendida como uma forma de expressão das práticas culturais dos sujeitos sociais de uma determinada época, por isso ela se apresenta nesta pesquisa como objeto de estudo e como fonte histórica. Procuramos mostrar como a história dessa entidade foi sendo construída ao longo das décadas, tanto por pesquisadores como pelos seus ex-integrantes através dos depoimentos concedidos. Percebemos que os pesquisadores observaram a entidade cepecista através dos questionamentos que estavam vivenciando. Assim, em cada período foram valorizadas certas particularidades desse grupo. Para contextualizar as teorias e as práticas do CPC da UNE examinamos a documentação produzida pela equipe, bastante restrita, e as concepções desenvolvidas no período pelos seus membros. Notamos que no ambiente cepecista havia diferentes conceitos de arte, de política e de povo. Com intuito de ampliar os debates acerca do teatro nacional e do teatro popular, enfatizamos questões em pauta no Brasil no período que antecedeu a formação da entidade no sentido de entender a emergência do CPC da UNE por meio das discussões teatrais promovidas nos setores culturais e intelectualizados, desde os anos finais da década de 1950. Concluímos que apesar da expressão CPC da UNE , essa entidade não surgiu dos projetos estudantis e sim de aspirações de alguns integrantes do Teatro de Arena em ampliar o público teatral e projetar nos palcos abordagens relacionadas à realidade nacional. A dramaturgia cepecista foi estudada com a finalidade de compreendermos como os autores dos textos teatrais estavam concebendo a função do teatro. Para isso destacamos nas peças: as temáticas, as representações das personagens, a linguagem, o emprego de elementos cênicos e o uso do recurso narrativo. A dissertação em tela, está inserida na discussão da cultura popular, uma vez que é possível verificar nas obras teatrais concepções políticas, definições de povo e encaminhamentos estéticos voltados para uma efetiva comunicação com o público

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T10:01:07Z (GMT). No. of bitstreams: 1 Pereira_ViniciusMuniz_M.pdf: 56101342 bytes, checksum: 514793000f3a81a61f247c0ccd82a831 (MD5) Previous issue date: 2011 / Resumo: Em meados da década de 1970, o compositor e instrumentista mineiro Renato Andrade lança seu primeiro disco solo intitulado A fantástica viola de Renato Andrade. No repertório, composições instrumentais interpretadas com muito virtuosismo na viola caipira. Esse é o início de uma produção precursora dentro da música sertaneja e que acabou por criar um novo segmento desse gênero. Resultado das transformações formais e estéticas da música popular brasileira a partir dos anos 70, a obra de Renato Andrade reflete o surgimento de fronteiras tênues entre a esfera popular e erudita, na qual compositores e instrumentistas vão buscar nas "tradições" populares elementos destinados a dar "autenticidade" e "legitimidade" às suas produções, ao mesmo tempo adotam procedimentos da música erudita para dar corpo e organicidade a suas músicas. Esta dissertação buscou investigar a obra do compositor e violeiro Renato Andrade. Para isso, partiu dos dados biográficos do artista, do levantamento de sua produção fonográfica e a partir desses dados procurou compreender as estratégias criativas de Renato Andrade, a maneira com qual o músico organiza o material musical na viola caipira e a consolidação daquilo que identificamos como sendo o seu idioma composicional. Num segundo momento, o foco deste trabalho foi compreender o performer Renato Andrade, sua atuação nos palcos e a construção do que identificamos como o personagem Renato Andrade / Abstract: In the 1970's, the composer and performer from Minas Gerais Renato Andrade releases his first record playing solo. It was called A fantástica viola de Renato Andrade. The album was made of instrumental compositions for viola caipira (Brazilian Ten String Guitar), an instrument that he played with a great virtuosity. This was the beginning of a one of a kind production in Brazil that ended up creating a new segment in the field of a genre known as "Música Caipira". As a result of the Brazilian's Popular Music formal and aesthetic transformations, ever since the seventies, Renato Andrade's work reflects the emergence of fine lines between the popular and the classical. In order to compose their plays, composers and musicians searched for Brazilian popular traditions so they could give to them "authenticity" and "legitimacy". At the same time, they adopt classic procedures to make the plays coherent and dense. This dissertation has the intent to explore Renato Andrade's work. It aims to expose the musical elements used in his compositions and his musical influences and tendencies and also, the construction of a specific style of the author, either through his music or through his ten string Brazilian guitar execution. To do that, we researched his biography and his music production in order to understand his creative procedures, his way to organize the musical materials in the Ten String Guitar and, finally, the consolidation of what we call his compositional language. On a second moment, we describe Renato Andrade as a performer: his performance on stage, and the construction of the "character" Renato Andrade / Mestrado / Fundamentos Teoricos / Mestre em Música

M.A. (Communication Studies) / This dissertation will concentrate on the manner in which the signification system of popular culture in advertising texts operate within the context of changing South African or post apartheid society. Social and political changes have taken place virtually overnight and it is therefore not surprising that the effects of these transformations have not yet filtered through to all layers of society. Furthermore, such quick changes cannot take place without causing at least some ripples of dissent and upheaval within certain sectors of society which may include cultural groups or even business. The author will consequently examine the effect which social changes have had on the perceptions of advertisers in the marketplace and the manner in which their brands are portrayed within advertising texts. More specifically, an investigation will be undertaken into the manner in which Popular Culture, whiph is inherently South African, has been incorporated within the contents of those texts. Popular Culture, it will be argued, has moved away from being a term used by classical Marxists to describe a so-called mass culture. In fact, within the context of a postmodern society, in other words, one which is essentially multi-faceted, the . concept Popular Culture-encapsulates that which is used within the day-to-day living experience to make a statement of dissent with the mainstream. Therefore the task set by this dissertation is manifold. the first instance we will place the South African market within a historic, cultural and economic context. In other words, we will attempt to trace the life-world of the South

América Latina y el Caribe son regiones que han enfrentado el problema de déficit habitacional debido al crecimiento poblacional en muchas ciudades principales. Como solución a ello, los gobiernos de países como Chile, Colombia y Perú cuentan con programas de vivienda social que buscan ayudar las personas con bajos recursos económicos. Sin embargo, a pesar de la reducción del déficit habitacional cuantitativo, resulta necesario ofrecer viviendas de calidad que tengan la infraestructura básica adecuada y que cubran las necesidades de las personas. Por lo que la presente investigación compara la reglamentación de viviendas de interés social que tiene Colombia, Chile y Perú. Además, se identifican las características de los programas de vivienda de estos países y, finalmente, se recomiendan lineamientos para la reducción del déficit habitacional cualitativo peruano. Se concluye que, con respecto al uso de suelo, existe una carencia de reglamentación enfocada en la ubicación de las viviendas sociales, ya que el costo del terreno es un factor trascendental; por ende, el problema de la ubicación de las VIS en zonas alejadas es una dificultad que los tres países padecen. Además, se concluyó que la calidad de vivienda que ofrecen los programas de Colombia es más desarrollada en cuanto al diseño estructural, eléctrico y sanitario. Mientras que los programas de Chile permiten una amplia pluralidad de materiales de construcción para estas viviendas, de las cuales el programa de Perú carece de estas características. Finalmente, el programa de Chile muestra un enfoque mayor en cuanto a accesibilidad para todas las personas para el dimensionamiento de espacios y requerimientos de arquitectura en la vivienda social, mientras que en los programas de Colombia y Perú se muestra un déficit de información.

This thesis examines the musical cultures associated with extreme-right politics, considering not only what this music projects about extreme-right ideology, but also the various ways in which music functions as part of a political subculture. This analysis extends beyond the stereotypical extreme-right music associated with the skinhead subculture, often referred to as Oi!, to incorporate extreme-right engagement with genres such as metal, folk, country and classical music. The chapters explore various aspects of identity—including race, sexuality, gender and class—and their significance to and reflection through extreme-right music, as manifested in genre choices, lyrics, album artwork and the features of the music itself. The thesis also considers the way in which less explicit content is produced and the motivation behind this, the importance of myth and fantasy in extreme-right music, and the way that the conspiracist mindset—which is prevalent, albeit not homogeneous, in extreme-right culture—is articulated both in extreme-right music and in the interpretation of mainstream music as antagonistic to extreme-right goals. Music is significant to extreme-right politics for a number of reasons. It is generally understood to be an effective tool in the indoctrination and recruitment of individuals into extreme-right ideology and politics, which is why music is sometimes freely distributed, particularly to youths. The very existence of this music can act to legitimise extreme-right views through the implication that they are shared by its producers and audience. Music also acts as an important tool for the imagining of an extreme-right community through its creation of a space to meet and create networks, a function consolidated by the media surrounding music, particularly websites, forums and magazines. As well as constructing the spaces for extreme-right communities, this music plays an important role in identifying the characteristics of those communities, in articulating what it is to be “us” as contrasted to “them.” Analysis of this music suggests that it has the ability to resolve the ideological contradictions which define the extreme right, even as this analysis reveals such contradictions.

Electronically-produced dance music has only recently achieved as much visibility in the global pop music industry as ‘live’ or instrumental pop. Yet the fascination of cultural scholars and sociologists with dance music predates its rise as a product of mass culture. Much of this interest derives from early associations of dance music with marginalised groups and oppositional ideologies. It therefore follows that many explorations of dance music focus on the ways in which techno, house and practices of ‘raving’ are expressions of dissent. As a result, the cultural aspects of dance music are necessarily the focus of these studies, with few musicologists addressing musical features and fewer dance scholars considering the specifics of dance movement. What is more, these differing approaches tend to compete rather than collaborate. In my thesis, I seek to address this divergence and to draw attention to the ways that contrasting disciplinary approaches can complement and enrich the study of any music. I use contemporary techno club nights in Edinburgh as a focal point for addressing musical and social triggers for dancing. I explore subjective experiences of dancing, DJing and producing by interspersing a review of existing literature with my own ethnographic research and musical analysis. Subsequently, I consider how the philosophies of techno are embodied within the movements and postures of the dancing body and social interaction. Participants in techno settings adopt strikingly similar attitudes to the institutionalised classical music world, despite the fundamental differences between the practices of composition, performance and listening. Moreover, these attitudes are repeatedly disseminated by participants, journalists and scholars. My enquiry into social and musical dancing triggers leads me to question the perpetuation of these ideas.

Thesis (MPhil (Music))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis investigates the role of natural or realistic audio recordings in popular music in the context of the different nature of popular music where the goal is not necessarily the recreation of the original acoustic space. Traditional microphone techniques are investigated from the perspective of the identifiable characteristics of popular music to establish the role of microphone techniques to obtain a desired outcome. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die rol van natuurlike of realistiese klankopnames in populêre musiek in die lig daarvan dat die aard van populêre opnames verskil van reproduksie wat poog om die opnameruimte akoesties te herskep. Tradisionele mikrofoontegnieke word bestudeer vanuit die hoek van die identifiseerbare eienskappe van populêre musiek om te bepaal watter rol mikrofoontegniek kan speel om ’n verlangde uitkoms te bewerkstellig.