O estudo aqui apresentado lança seu olhar para a produção de sambas durante o período do Estado Novo. Levando em consideração a busca pela construção do novo Brasil, moderno e civilizado, e do seu cidadão, colaborador com a nova ordem política e, portanto, trabalhador, são analisados os sambas que destoam das orientações governamentais, em especial, os aspectos relacionados ao trabalho. A importância dessa pesquisa consiste em contribuir para o fim da ideia de total aceitação das regras estabelecidas pelo governo de Getúlio Vargas, presidente que mais se utilizou das canções para legitimar seu governo, fortalecendo, deste modo, o posicionamento da historiografia recente que defende a existência de vozes discordantes. Além disso, poderemos também acompanhar o processo de transformação do país, da cidade do Rio de Janeiro e de elementos populares e regionais tornando-se nacionais. Para alcançar os objetivos propostos é essencial a seleção e análise de músicas compostas no período em questão, mas não perdendo de vista as outras temáticas que eram abordadas para que se forneça um panorama mais fiel da realidade da música popular nos anos de 1930 e 1940. / El presente estudio mira para la producción de sambas durante el Estado Novo. Teniendo em cuenta la busca de la construccíon del nuevo Brasil, moderno y civilizado, y de sus ciudadanos, colaborador de la nueva orden politica y, por lo tanto, trabajador, són analizados los sambas que no van de encuentro con las directrizes del govierno, en particular, los aspectos relacionados al trabajo. La importancia de esta pesquisa está en contribuir para el fin de la idea de total aceptacion de las regras creadas por el govierno de Getúlio Vargas, presidente que más se utilizó de las canciones para legitimar su govierno, fortaleciendo, así, el posicionamiento de la historiografía reciente que defende la existencia de vocês discordantes. Además, podremos ver el processo de transformacíon del país, de la ciudad del Rio de Janeiro y de los elementos populares y regionales cambiando em nacionales. Para conseguir sus objetivos propostos és essencial la seleccíon y análisis de las canciones compuestas en el periodo em cuestión, pero no perdiendo de vista los otros temas que fueram abordados para que así veamos un panorama más fiel de la canción popular en los años de 1930 y 1940.

Submitted by Bruno Galvão de Campos null (bruno12323@hotmail.com) on 2017-02-02T21:45:41Z No. of bitstreams: 1 Dissertacao Bruno Campos-revisada-pos-defesa.pdf: 1612994 bytes, checksum: 8486d4d50565a54b53b33f19060e0263 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-02-06T17:38:53Z (GMT) No. of bitstreams: 1 campos_bg_me_svic.pdf: 1612994 bytes, checksum: 8486d4d50565a54b53b33f19060e0263 (MD5) / Made available in DSpace on 2017-02-06T17:38:53Z (GMT). No. of bitstreams: 1 campos_bg_me_svic.pdf: 1612994 bytes, checksum: 8486d4d50565a54b53b33f19060e0263 (MD5) Previous issue date: 2017-01-06 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A Baía de Guanabara concentra aproximadamente 70% das indústrias do Estado do Rio de Janeiro. Os resíduos produzidos por essas fontes, somados à carga de esgoto doméstico, transformaram a região em umas das áreas mais poluídas da costa Brasileira. O presente estudo realizou a avaliação do risco ecológico dos metais em sedimentos da Baía de Guanabara, por meio de um método escalonado utilizando múltiplas linhas de evidência: caracterização do sedimento quanto à sedimentologia e concentração de metais, comparação das concentrações ambientais com guias de qualidade de sedimento, ensaios de toxicidade crônica utilizando os organismos Anomalocardia brasiliana e Nitocra sp., ensaios de toxicidade aguda utilizando os organismos Tiburonella viscana, Kalliapseudes schubartii, e Anomalocardia brasiliana. Para comprovar existência de relação causa e efeito entre os metais e a toxicidade, foram empregadas a técnica do TIE, análises multivariadas (PCA) e matrizes qualitativas. Os sedimentos mostraram níveis altos a moderados de metais (Zn, Pb, Cu, Cr) associados com a toxicidade. O TIE revelou que, além dos metais, amônia e compostos orgânicos são contaminantes presentes na região que tem a capacidade de causar toxicidade. Desse modo constatou-se que os metais constituem uma importante classe de contaminantes para a Baía de Guanabara, os quais, além de estarem presentes em altas concentrações, interagem com outros contaminantes e são também (co)responsáveis por efeitos biológicos negativos. / The Guanabara Bay (GB) comprises approximately 70% of the industries of Rio de Janeiro State. The wastes produced by these sources, combined with the domestic sewage loads, have transformed the region into one of the most polluted areas of the Brazilian coast. The present study evaluated the ecological risk of metals in sediments from the GB by the use of a tiered approach. The chosen method combines the following lines of evidence: geochemistry, comparison of environmental concentrations of metals with sediment quality guidelines, chronic sediment toxicity tests with Anomalocardia brasiliana and Nitocra sp.; and acute sediment toxicity tests with Tiburonella viscana, Kalliapseudes schubartii, and Anomalocardia brasiliana. To verify the existence of cause and effect relationships between metals and toxicity, the Toxicity Identification Evaluation (TIE) technique, multivariate analysis (PCA) and qualitative matrices were used. Sediments showed high to moderate levels of metals (Zn, Pb, Cu, Cr) associated with toxicity. In addition, the TIE has revealed that metals, ammonia and organic compounds contribute to cause sediment toxicity. We concluded that metals are an important class of contaminants for the GB, together with other chemicals, as they are present in high concentrations, interact with other substances and are (co)responsible for the negative biological effects. / FAPESP: 2015/13143-0

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-05T13:18:12Z No. of bitstreams: 1 Maria Elise G. B. M. Rivas.pdf: 3552936 bytes, checksum: f7b8bcdf7f4a70bdd8671da3133040c6 (MD5) / Made available in DSpace on 2017-12-05T13:18:12Z (GMT). No. of bitstreams: 1 Maria Elise G. B. M. Rivas.pdf: 3552936 bytes, checksum: f7b8bcdf7f4a70bdd8671da3133040c6 (MD5) Previous issue date: 2017-11-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper adresses black women in the macumbas of Rio de Janeiro, in the newspapers of such city, from 1870 to 1930, aiming to analyse their presence or absence in the macumbas. There are two hypothesis here considered: to verify if the presence of black women found in the researched material (that is, the newspapers of Rio de Janeiro) equals their importance in the macumbas, and to verify how much do the papers performed by man and women in the terreiros influence or not the musical macumba regarding aesthetics. The research uses a feminist perspective, so the theoretical reference privileges gender. I recollect Fiorenza’s hermeneutics of suspicion (1992) in order to find women in the newspaper, a historical look that aims to find them as characters of day by day in Perrot (2005), and a anthropologic approach of black women in the Candomblés in Bernardo (2005-2005). Also, we refer to Pollak (1989) and the underground memory, and to Weber (2013) and the separation of the issues in order to understand better the division of macumba into religious and musical. The empirical field is formed by 19 newspapers that were active in the city of Rio de Janeiro through the chosen period. Such newspapers are available in the Hemeroteca Digital of Rio de Janeiro, so the analyzed material is a primary source. Methodology used to analyze the newspapers is the approach given by Zicman (1985). It is worth mentioning that too much effort has been needed so we could find black women in both macumbas: they were there / Esta pesquisa tem como objeto as mulheres negras nas macumbas cariocas, nos jornais do Rio de Janeiro, entre os anos de 1870 a 1930, tendo como objetivo analisar a presença ou ausência das mesmas nas macumbas. As duas hipóteses elencadas são as seguintes: verificar se a presença das mulheres negras no material encontrado (os jornais cariocas) corresponde à importância delas nas macumbas, e verificar em que medida a configuração dos papéis desempenhados por homens e mulheres nos terreiros influenciaram ou não a macumba musical na esfera estética. A pesquisa é realizada sob uma perspectiva feminista, de modo que o horizonte teórico privilegia as questões de gênero. Faço uso da hermenêutica da suspeita de Fiorenza (1992) para encontrar as mulheres nos jornais, um olhar histórico que busca encontrar as mulheres como personagens do cotidiano em Perrot (2005) e uma abordagem antropológica das mulheres negras nos candomblés em Bernardo (2003-2005). Mas, também trago Pollak (1989) com o referêncial memória subterrânea e Weber (2013) com a separação das esferas para melhor entender a “separação” da macumba em religiosa e musical. O campo empírico são 19 jornais que circularam na cidade carioca no período pesquisado disponibilizados na Hemeroteca Digital do Rio de Janeiro, ou seja, o material analisado é uma fonte primária. A metodologia utilizada para análise dos jornais é a abordagem dada por Zicman (1985). Vale ressaltar que foi necessário muito esforço para podermos encontrar as mulheres negras em ambas as macumbas, mas elas estavam lá

Orientador: Virginia Célia Camilotti / Resumo: O Rio de Janeiro entre os anos de 1901 e 1918 viveu uma intensificação do fluxo migratório interno e externo, judeus das mais variadas origens chegaram e se instalaram na cidade iniciando o processo de organização deste núcleo imigrante. Em meio a um cenário de disputas em torno de projetos que fossem capazes de unificar as diferentes tendências existentes entre os imigrantes judeus, surgiu A Columna, primeiro periódico judaico/sionista publicado em português no Brasil. Idealizada por David José Perez e Alvaro de Castilho, A Columna foi editada entre janeiro de 1916 e dezembro 1917 em formato de revista mensal. Mais do que um divulgador de notícias, esse impresso propunha ser um propagador de ideais. Partindo da premissa de que a A Columna foi uma das responsáveis pela divulgação do sionismo no Rio de Janeiro, o objetivo desta pesquisa consiste em determinar e compreender quais foram os mecanismos utilizados por esse periódico para difundir as ideias ligadas ao nacionalismo judaico e entender quais foram as estratégias empregadas para sua inserção na comunidade judaica desta cidade e até que ponto isso pode ter contribuído para a formação de uma nova identidade. / Abstract: Rio de Janeiro between 1901 and 1918 experienced an intensification of the internal and external migratory flow, Jews of various origins arrived and settled in the city starting the process of organization of this immigrant nucleus. Amid a backdrop of disputes over projects that could unify the different trends among Jewish immigrants, A Columna, the first Jewish / Zionist journal published in Portuguese in Brazil, emerged. Created by David José Perez and Alvaro de Castilho, A Columna was edited between January 1916 and December 1917 in a monthly magazine format. More than a news spreader, this print was intended to be a spreader of ideals. Assuming that A Columna was responsible for spreading Zionism in Rio de Janeiro, the objective of this research is to determine and understand the mechanisms used by this journal to spread the ideas related to Jewish nationalism and to understand which were the strategies employed for their insertion in the Jewish community of this city and to what extent this may have contributed to the formation of a new identity. / Mestre

Many Latin American countries have during the past decades experienced an increase in violence (Howard et al 2007:716). The expansion of youth gangs and drug cartels in many countries of the region, and the states policy to fight these groups with a strong fist, has created a situation bearing the characteristics of an un-proclaimed civil war, that has come to affect all social classes (ibid:719). This expansion of the problem of violence, and the notion of insecurity it brings, has resulted in an increase in talk about the matter. As a way of trying to grasp control over a seemingly out of control issue, people automatically try to pin down characteristics of the potential perpetrators. Already socially excluded people and minorities on the bottom of the social hierarchy are the ones that have to suffer the stigmatization of criminality as they are seen as more prone to assort to crime and violence due to their economical desperate and unjust living situations (Caldeira 2000:92). These people that are the most exposed and vulnerable to the effects of economic development become personified with the problems that social exclusion and economic inequality creates, such as crime and violence (Howard et al 2007:716). As these groups of people become criminalized, the question of solving these issues becomes not a question of solving the root causes such as the economic inequalities, but the government’s ability to keep these social groups at bay (Caldeira 2000:90). An increase in violence and crime is therefore not perceived as a result of inequality in income and opportunity, but rather as the result of a weak state (ibid). This aim of this research is to analyze how media discourses in Rio de Janeiro, Brazil, contributes to the personification of the residents of the Favelas as violent and criminal. This paper will follow the lines of critical discourse analysis theories, which argue that media discourses justify unequal power relations in society and enforces inequality and the social exclusion of minorities (Van Dijk 1988:25). It will also be argued that it is this stereotypical view of the residents of the Favela as inheritably criminal and violent which lead to dehumanization of them and the justification of the killings of civilians in these neighborhoods (Caldeira 2000:20; Goldstein 2003:205; Perlman 2010:172).

La tesis tiene como objeto de investigación el paisaje de Río de Janeiro, consolidada por una estructura topográfica - la naturaleza - y otra humana - la arquitectura -. El deseo por la conciliación que la arquitectura impregna ante el paisaje, es la hipótesis de un embate inalcanzable. Y una vez que se entiende el paisaje como un hecho cultural, su estudio está acotado por la mirada artística de pintores y arquitectos entre un límite histórico que en Brasil va desde la llegada del Neoclasicismo hasta la consolidación del Arte Moderno. Si el punto inicial es en los comienzos del siglo XIX, cuando varios artistas europeos desembarcaron en Brasil a menudo como integrantes de misiones expedicionarias con el objetivo de catalogar, registrar, observar, más tarde con el Arte Moderno, que se opone al Neoclasicismo, llega una nueva etapa del arte producido en Brasil, pues es cuando la cultura brasileña finalmente reconoce una expresión propia en si misma. Dividido en dos partes, en la cual la primera trata de las representaciones de Río de Janeiro a través de los pintores, mientras la segunda está dedicada a las representaciones de los arquitectos, la tesis tiene su organización según relaciones dialécticas. Así, si una parte trata de la mirada de los pintores y la otra la de los arquitectos, por su vez cada parte está subdividida en dos capítulos, los dos primeros referentes al ojo extranjero, mientras que el segundo de cada parte trata del ojo local, es decir, de los artistas brasileños o extranjeros radicados en Brasil que retrataron el paisaje inmerso en el ambiente cultural de la ciudad de Río de Janeiro. / This thesis has the landscape of Rio de Janeiro, as a case study. Such a landscape is both consolidated by a "topographic structure" - the nature - and a "human structure" - the architecture -. The wish for conciliation which the architecture assumes as regards to landscape is the possibility of a confrontation that will be proved to be unreachable. As landscape is understood as a cultural fact, this research takes the artistic look of painters and architects to delimitate the universe of analysis which, in terms of Brazil, starts with the advent of the Neoclassicism and extends until the consolidation of the Modernism. The starting point for investigation is then, the beginning of the XIX century, when several European artists had disembarked in Brazil, most frequently as members of missionary expeditions whose objectives were essentially to catalogue, to register, to observe. Contrasting to this, this study points out that the Modernism, opposing to the Neoclassicism, come to establish a new path for the art produced in Brazil, as Brazilian culture eventually recognizes in itself its own expression. To reach such findings, this thesis is divided in two parts organized according to dialectic relations. The first part deals with the representations of Rio de Janeiro through the painters, and the second is dedicated to the representations of the architects. Each one of these two parts is further divided into two chapters. Both first chapters refer to the foreign look, whereas both second deal with the domestic look. Such a look encompasses Brazilian, as well as foreign artists, who had portrayed the landscape, at the time they were living and participating to the cultural environment of the city of Rio de Janeiro.

In this project, I situate the Black Rio movement and Brazilian música soul within a history of representations of black Brazilian masculinities in music. I do so in order to trace changing conceptualizations of race and citizenship in 1970s Rio de Janeiro. I seek to move beyond the existing literature which judges the Black Rio movement on its political expediency while ignoring its historico-cultural context. That is, prior works tend to pit black soul musicians and dancers against the mostly-white, middle-class intellectuals who have historically made determinations about black Brazilians, and in doing so these works have judged the Black Rio movement a political failure. Instead, I focus on the agency asserted by black Brazilian musicians and dancers in representing themselves and in creating alternative places for the enactment of their identities in opposition to the normative expectations of Blackness and standards of masculinity. Beginning in the 1920s and the 1930s, expectations for black masculine behavior were tied to restrictive, demeaning representations of the malandro in samba music and of afrobrasilidade in Carnaval celebrations. These representations were influenced by changing attitudes towards race in the context of national consolidation and the propagation of the myth of racial democracy, which recognized racial difference while not recognizing extant racial inequality. Entrenched modes of thinking and normative modes of being were adamantly challenged by soul musicians and dancers in the 1970s. Through the adoption of U.S. funk and soul music and strong masculine imagery associated with the Black Power movement, black Brazilians appropriated and resignified international symbols in order to forge a new black identity. In doing so, soul musicians and dancers carved alternative spaces for themselves, and renegotiated the terms of their inclusion in the Brazilian nation. This paper considers the shifting place of Blackness in Brazil through an analysis of visual, aural and lyrical representations of Blackness in music and in the critical reception of that music. I argue that funk and soul music played a key role in destabilizing the restrictive notion of afrobrasilidade held by mainstream Brazilian society, enabling new ways of being both black and Brazilian. / text

This project examines the Baixada Fluminense (or simply the Baixada), in metropolitan Rio. It specifically analyzes how rapid urbanization affected political and social change during Brazil's reasonably democratic 1945-1964 period. More specifically, I analyze how local-level populist politics, the accelerated social transformation resulting from industrialization, urbanization, violence, the press, and changes in the countryside not only affected the areas residents, but reflected trends, transformations, and major shifts on the national level as well as in Latin America as a whole. In effect, I argue that national issues became local issues, and vice-versa. This project, through a close textual analysis of both archival and printed sources, analyzes the political career of Tenório Cavalcanti, the region's dominant politician and strongman (known as the "Man in the Black Cape") as a an entry point into various aspects political and social climates on both the local and national levels. The Baixada, previously an agricultural area, became a center of industry with a population of nearly one million by 1960. The new arrivals to the Baixada included impoverished migrants from the countryside as well many of the urban poor from nearby Rio de Janeiro who sought both employment and living accommodations within their financial means. Tenório, whose career as a populist politician spanned this entire period, reflected the demographic, social and political changes in his electorate. His gradual shift from right to left (as a result of an increasingly radical and organized lower class constituency in both the city and the countryside) exemplified this phenomenon. I also challenge the notion of the "Populist Republic"- the nickname commonly given to the 1945-1964 period. By fully acknowledging that populism existed on a large scale, and that it is generally viewed in a negative light from both the left and the right, I argue that many of the problems of the democratic period (and the populist politics that dominated the era) resulted as much from systemic limitations and an incomplete transition to democracy as it did from corruption and demagoguery (by-products of these very limitations).

Homicide deaths are a common reality in Brazil. Every year, approximately 50,000 people die from this violent crime. Between January 2009 and February 2010, 7,936 people were killed just on the state of Rio de Janeiro. Of this amount, 1,185 were committed by the police, not including the number of disappeared people in this state, came up to 6,379. This report seeks to address the political and analytical challenges of understanding and redressing the negative impacts of state policies and everyday practices, especially violence, on Black Brazilians, particularly disadvantaged Black women, through a revision of relevant scholarship. I first draw attention to three distinct approaches of violence of the state of Rio de Janeiro, and on Black people’s resistance practice. Second, I connect Rio de Janeiro’s practices of state violence with contemporary and historical experiences of racial terror in the African Diaspora through policing Black youth and Black communities, imprisonment, and violence against Black women. And finally, I theorize on the relevance of my work to Black feminism, African Diaspora, and activist theories addressing the politics of fieldwork and the impact of the research on that experience. The knowledge apprehended through this report contributes to my own and further research on state violence against Black people in Brazil and throughout the African Diaspora. / text

Background: Social entrepreneurship started to appear in the academic research in the end of 1990´s and has since then been well discussed by researchers. They have come up with numerous of different definitions and meanings of the term, but agree that the goal for these kinds of entrepreneurs is to create social value. Purpose: Our objective with this study is to create an understanding of where social entrepreneurs acquire the necessary resources to start their social business. Research question: How do social entrepreneurs acquire the necessary resources to start their social business in Rio de Janeiro? Methodology: The study adopted a qualitative research method and semi-structured interviews have been done in order to gather data. An abductive approach has been used where the authors has gone back and forth between the theory and the empirical findings. Research findings: The social entrepreneurs that we interviewed used the following ways to acquire resources to start their social business: Social venture capitalists, social capital, human capital, cultural capital and volunteers.