Orientador: Francisco Cláudio Alves Marques / Banca: Gabriela Kvacek Betella / Banca: Esequiel Gomes da Silva / Resumo: A partir da década de 1960, a produção de folhetos de cordel, como vinha sendo tradicionalmente praticada, sofre um considerável declínio, embora neste mesmo período poetas como Rodolfo Coelho Cavalcante ainda estejam produzindo, existe o receio de que o cordel brasileiro possa cair no ostracismo. Para evitar o desaparecimento dessa prática, alguns poetas populares começam a dar um tratamento distinto a seus folhetos, adotando temáticas de interesse mais geral e empregando certa erudição nas suas narrativas em versos, numa tentativa de atingir um público mais amplo, como é o caso de Gonçalo Ferreira da Silva, um dos principais mentores do processo de revitalização da Literatura de Cordel. O fato é que, no fim dos anos 70 e início dos anos 80, o interesse pela literatura de folhetos aumenta, principalmente por parte dos pesquisadores e do público acadêmico, cada vez mais interessado em entender aspectos da cultura popular brasileira. Para a compreensão do processo de declínio e revitalização da Literatura de Cordel, o presente trabalho se propõe a analisar alguns folhetos anteriores e posteriores à década de 1960, observando sempre as modificações de ordem técnica, contextual e temática. O corpus desse trabalho conta principalmente com folhetos pertencentes à produção dos poetas Leandro Gomes de Barros, pertencente à Primeira República, Rodolfo Coelho Cavalcante (situado em período intermediário) e Gonçalo Ferreira da Silva, nosso contemporâneo, com pequenas inserções de outro... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: From 1960 the cordel leaflect production, as it was being traditionally made, suffers a considerable decline, although during this period poets like Rodolfo Coelho Cavalcante were still producing, the fear of Brazilian cordel might fall into ostracism already existed. In order to avoid the oblivion of this practice, some popular poets started to treat their leaflets differently, resorting to general interest, as well as exert slight erudition in their narratives in verse, in an attempt to reach a broader public, like Gonçalo Ferreira da Silva, one of the main mentors of the revival process of cordel literature. Surely, at the end of the 70s and at the beginning of the 80s, the interest for leaflet literature raises, especially from researchers and academic community, growing more interested in understanding the aspects of Brazilian popular culture. To understand the process of decline and revival of Cordel Literature, this paper proposes to analyze some leaflets from earlier and later 60s, always observing the modification regarding technique, context and theme. The corpus is composed mainly of leaflets belonging to the production from the poets Leandro Gomes de Barros, referring to the First Republic, Rodolfo Coelho Cavalcante (placed in-between period) and Gonçalo Ferreira da Silva, our contemporary, with small inserts of other leaflets to illustrate the process of modification of cordel literature along 100 years of production / Mestre

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, 2006. / Submitted by samara castro (sammy_roberta7@hotmail.com) on 2009-10-30T12:58:56Z No. of bitstreams: 2 Introducao.pdf: 50234 bytes, checksum: 5bdc7073995ff5a674581d116e144008 (MD5) conclusao.pdf: 51452 bytes, checksum: e33ba7255142555dc913f4e7b1e7143a (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2010-01-06T13:11:48Z (GMT) No. of bitstreams: 2 Introducao.pdf: 50234 bytes, checksum: 5bdc7073995ff5a674581d116e144008 (MD5) conclusao.pdf: 51452 bytes, checksum: e33ba7255142555dc913f4e7b1e7143a (MD5) / Made available in DSpace on 2010-01-06T13:11:48Z (GMT). No. of bitstreams: 2 Introducao.pdf: 50234 bytes, checksum: 5bdc7073995ff5a674581d116e144008 (MD5) conclusao.pdf: 51452 bytes, checksum: e33ba7255142555dc913f4e7b1e7143a (MD5) Previous issue date: 2006-06 / A maneira como artistas migrantes ligados à música popular realizada no Brasil dos anos 70 trabalharam seus discursos musicais sobre as cidades que encontraram e quais as perspectivas identitárias que esses mesmos discursos indicam, em consonância com o entendimento da noção de MPB, são os eixos norteadores do presente texto. A experiência específica de artistas nascidos nos estados do Piauí e do Ceará foi uma escolha motivada por parecer a mais rica do ponto de vista da diversidade de questões relativas aos processos culturais que ela suscita: o popular, o nacional, o regional e o local se esboçam, com todas as contradições presentificadas naquele momento, em uma perspectiva muito peculiar. Este trabalho pretende ser uma contribuição histórica para o entendimento da complexa noção de música popular feita no país, ao buscar iluminar questões relativas às contradições culturais da sociedade brasileira a partir de um campo de atuação artística muito próximo do cotidiano de parcela significativa dos seus indivíduos, particularmente observado a partir daquela década. ________________________________________________________________________________________ ABSTRACT / The way how migrants artists linked to the popular music in the 70’s in Brazil practiced its musical discourse concerned to the cities that they knew and what the identity perspectives that those same discourse indicates, according to the acquaintance of the MPB notion, those are the center line guidance of this present text. The reasons why the choice by artists born in the states of Piauí and Ceará was because the specific experience of them, that seems to be more rich from the diverseness matter in relation to the cultural process point of view that it brings: the popular, the national, the sectional and the local delineate, with the presence of all the inconsistency in that moment, under a very peculiar frontage. This work intends to be a historical contribution for the understanding of the complex notion of popular music made in the country, searching to illuminate questions relataded to the cultural contradictions of Brazilian society from a field of artistic performance close to the daily of one significant parcel of its individuals, particularly observed from that decade.

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T17:48:49Z (GMT). No. of bitstreams: 1 Vasconcelos_JorgeLuizRibeirode_M.pdf: 1880040 bytes, checksum: 1a30cbc41f3aec255376369565a23ccd (MD5) Previous issue date: 2003 / Mestrado

This thesis seeks to offer a preliminary evaluation of the efficacy of popular theatre forms for the benefit of the contemporary director of didactic performance. Chapter One provides a rationale for the study by outlining the history of popular theatre forms in twentieth-century practices, focusing specifically on those that aimed to be didactic. The chapter then addresses the state of didactic performance at the present time and questions whether the right cultural conditions currently exist to reinvigorate didactic drama with popular theatre forms. The chapter concludes with an outline of my methodology for the development of three research projects designed to analyse the efficacy of popular forms. Chapters Two, Three and Four discuss the development of the research projects specifically. In these chapters I discuss how performers were trained in the popular forms, the development of the performance texts, and, crucially, how the forms were used in performance. The conclusion to each chapter addresses the audiences’ reception to the performances. Chapter Five collates the findings from the research through practice projects and seeks to offer advice to directors of contemporary didactic performance on how popular theatre forms can be used to entertain and educate audiences about issues of concern. This thesis is accompanied by four DVDs, which feature short films of performer training workshops and the research projects. The reader will be directed to the DVDs at specific moments throughout the thesis.

Display of disagreement in a public space under the form of strikes, rallies and not only, is not the sole form of protest. Popular culture can easily be used to send messages of discontent. The paper focuses on popular music by looking at one of the most representative music charts in the world: The Billboard Chart. By screening the Year End Billboard Rock Chart for a period of 5 years the paper tries to identify songs that can be labelled as protest songs and see what they are protesting against, what themes they address, what are their characteristics and how are the messages transmitted in both textual and visual narratives, in order to draw a picture of the contemporary protest song that is present in a popular chart. The theoretical framework of the paper discusses popular culture, the classical image of the protest song, the creational process of music within the music industry and its politic and economic sides. After a first screening of the charts with the help of content analysis, by using the concept of narrative, the paper examines the stories presented in the lyrics and, where possible, the videos made for the songs. The findings of the paper show that even if not respecting the theoretical characteristics of the classical protest song, The Year End Billboard Rock Chart has several songs with strong political messages either in lyrics or videos or in both at the same time.

Gay male culture is suffused with indications of the importance of women and bonds with women. Indeed the Stonewall riots, mythologised moment of the birth of modern gay politics, are often said to have been catalysed by gay male grief at the death of Judy Garland. Why should a culture apparently founded on same-sex desire be so preoccupied with relationships across gender difference? The thesis attempts to map the shape and effects of bonds with women by using a materialist analytical framework in relation to texts and their critical retinue. The first chapter looks at A Streetcar Named Desire, a play that has engendered significant cultural contest which spans key historical and political shifts in the nature of gay male identity. This chapter attempts to show how a diverse range of critical engagements with Tennessee Williams's work, including authoritative and resistant, heterosexual, homosexual and queer ones, exhibit considerable investment in the proposition that the playwright's sexuality not only structures a libidinous desire, but a gender identification. The second chapter situates gay men within the homosocial gender bonds mapped by Eve Sedgwick, and draws attention to the dissident opportunities gay male culture has exploited within this narrative system. It goes on to examine the potential political and cultural links between such strategies and the resistance of straight women who are also organised as homosocial subjects. This chapter includes a reading of Tarantino's Pulp Fiction as homosocial text and looks at a number of autobiographical and journalistic writings which identify a predominant dissident strategy which I refer to as heterosocial bonds. The latter part of the thesis comprises two complementary chapters. The first of these, chapter three, assesses the plausibility of heterosocial bonding in the representations of relationships between straight women, lesbians and gay men in the American situation comedy Roseanne. Chapter four conducts a similar inquiry in relation to Pedro Almodovar and the representational alignment he makes with women in the film Women on the Verge of a Nervous Breakdown. The analysis conducted in both of these chapters attempts to treat the texts not only as generic and formal representations,but as attempted acts of bonding. The thesis attempts to judge the political expediency and effectiveness of heterosocial bonding, and locates the difficulty and contingency of such endeavours within the fabric of homosocial structures.

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This study starts by offering an account of the multi-faceted ongins of sentimentality, and its importance as an innovative and influential cultural force. The origins of commercial popular song and the high period of sentimentalism are contiguous, and it is argued that a sentimental tradition in popular song develops alongside those in the more familiar areas of literature and painting. The sentimental song tradition includes both secular and sacred lyrics, and it is shown, significantly, that modern hymnody (which has informed much subsequent secular popular music) has sentimental roots. The tradition is traced sequentially via the work of the key sentimental lyricists until the mid-nineteenth century when the increasing volume and variety of British and American popular song makes such a historical approach less feasible. The thesis then analyses favourite sentimental song lyric motifs as they occur in different types of popular song at different times, and two particularly well-defined aspects of the repertoire - the Irish sentimental song and lyrics about the hereafter - are explored in terms of how they offer alternative realities. Sentimental song, because of its didactic origins, has always been concerned with achieving effects - typically producing tears - rather than being original. Its use of a limited pool of stock themes to this end makes it a cultural product that is easy to 'manufacture', and it has a ready audience because it affords a pleasurable indulgence - often a characteristic 'happiness in unhappiness' - while at the same time giving proof of sensibility (and, in the eighteenth century, proof of moral and aesthetic probity). The continuing appeal of sentimental popular song is explained in terms of its aptness in extreme social and personal situations, as well as its ability to offer a heart-warming alternative to more objective or despairing views of the world.