Esta pesquisa teve como objeto as condições sociais de produção da música popular no Rio de Janeiro nas três primeiras décadas do século XX e se desdobrou em três dimensões distintas: os significados culturais da música popular na sociedade da época, a organização do espaço de produção dessa música e as experiências profissionais de alguns músicos que se destacaram no período, como Chiquinha Gonzaga, Ernesto Nazareth, Catullo da Paixão Cearense, Eduardo das Neves, Sinhô e Pixinguinha. O estudo sobre as representações que os escritores registraram em romances, contos, crônicas, palestras, críticas e artigos de jornal mostram certa ambigüidade nos significados atribuídos à música popular. Se por um lado esse universo de produção cultural revela-se, já no início do século XX, um espaço de produção de um bem simbólico que vai ser a base para a construção da auto-representação dos músicos como merecedores da admiração e consideração pública, por outro lado, não oferece uma base legítima para o reconhecimento social de seu valor pelos agentes da cultura dominante, que vão enfatizar a vaidade e a presunção desses músicos. Mas essa convicção definitiva de seu próprio valor sugere o início de uma transição na ordem estabelecida pela cultura legítima e que vai se tornar evidente apenas nas décadas seguintes. Ao mesmo tempo, o estudo do espaço de produção da música de divertimento mostra um universo pouco autônomo e pouco estruturado, mas com capacidade de oferecer diferentes tipos de recompensas aos seus músicos: recompensas materiais nos circuitos que concentram as novas mídias e eventos culturais de massa, como o Disco e o Carnaval, e recompensas simbólicas nos circuitos próximos aos espaços legítimos de produção cultural, como o Teatro e a Literatura. Este estudo pretende contribuir para o conhecimento do universo musical do período, ainda pouco explorado, bem como contribuir para a reflexão sobre os modos como os condicionantes desse universo foram vivenciados e agenciados de diferentes maneiras por alguns dos músicos mais famosos do período. / The objective of this research is to present the social conditions underlying the production of popular music in Rio de Janeiro during the first thirty years of the 20th century, which was manifest in three separate dimensions: the cultural meanings of popular music in society at the time; how the space for producing such music was organized; and the professional experiences of some distinguished musicians of the period like Chiquinha Gonzaga, Ernesto Nazareth, Catullo da Paixão Cearense, Eduardo das Neves, Sinhô and Pixinguinha. Representations of popular music that writers recorded in novels, stories, narratives, speeches, critiques and magazine/journal articles express a certain ambiguity in the significance attributed to the genre. While, on the one hand, cultural production in the early twentieth century presents itself as a space for producing a symbolic good for musicians to construct their identities as meritorious of public admiration and consideration, on the other hand, it fails to offer a legitimate base for representatives of the dominant culture to socially acknowledge the value of this new genre, with those of the dominant culture notably emphasizing the vanity and arrogance of the emerging popular musicians. Yet this definitive conviction of their own value suggests the beginnings of a transition in the order established by the legitimate culture, a transition that only becomes clear decades later. At the same time, the productive space of entertainment music reveals an unstructured universe that is barely autonomous yet capable of offering various ways to compensate musicians: material compensation through new media circuits and mass cultural events, such as the gramophone records and Carnaval, and symbolic compensation through circuits near legitimate spaces of cultural production, such as the theater and literature. This study is intended to add to our knowledge of the musical universe of the period, which is still underexplored, and to contribute to our reflections on how the means and conditions of this artistic world where experienced and represented in different ways by some of the most famous musical artists of the time.

A partir de alguns estudos sobre a Academia Brasileira de Letras entidade fundada no Rio de Janeiro, em 1897 , é possível chegar a uma imagem já muito conhecida, porém pouco questionada: a de um espaço cuja compleição é marcadamente androcêntrica. Ainda que a associação entre Academia e dominação masculina possa parecer um tanto apressada, há um conjunto de implicações sociológicas nela inscritas que merecem ser descortinadas e problematizadas. Cabe-nos, assim, percorrer os caminhos teórico-analíticos que nos possibilitem apreender os matizes que tal correlação encoberta, tendo em vista as prerrogativas de gênero. Para tanto, nosso ponto de partida, situado no encalço de alguns déficits documentais, será o período de consolidação da ABL, que assiste à cogitação do nome de uma mulher para figurar entre seus membros fundadores. Trata-se da escritora Júlia Lopes de Almeida que, logo em seguida, viu-se excluída da relação final de agremiados. Também dedicaremos especial atenção a 1930, ano em que a escritora Amélia Beviláqua propõe candidatura à Academia, obtendo como resposta um sonoro não. Além destes episódios, que representam verdadeiros vazios institucionais, buscaremos evidenciar as mudanças que se processaram na Casa de Machado de Assis ao longo do tempo, tendo como ponto de inflexão o ano de 1976, momento em que é aprovada a elegibilidade feminina, alteração regimental esta que fora sucedida pela exígua presença de mulheres até os dias atuais, mais especificamente, pelo ingresso de seis escritoras: respectivamente Rachel de Queiroz, Dinah Silveira de Queiroz, Lygia Fagundes Telles, Nélida Piñon, Zélia Gattai e Ana Maria Machado. A partir do quadro construído, procuraremos mostrar se a referida modificação no Regimento Interno foi sintomática de uma alteração nos contornos tradicionais e conservadores da ABL, ou se as circunstâncias e motivações que orientaram tais ingressos resultam de forças sociais ratificadoras do cânon literário. / From some studies about the Brazilian Academy of Letters an institute established in Rio de Janeiro in 1897 , we can see an image that is widespread but not questioned, i.e., that of a space that tends to be visibly male chauvinist. Although the association of the Brazilian Academy and the male domination may seem to be simplistic, there is in it, in fact, a series of sociological implications that must be scrutinized and questioned. Thus, taking a theoretical and analytical approach vis-à-vis the gender, the aim of this study is to capture the nuances that such an association veils. Therefore, our starting point, which takes into consideration the absence of some documents, will be the period of consolidation of the ABL, when the name of a woman is considered to emerge among its founding members. This woman was the writer Júlia Lopes de Almeida, who immediately afterwards saw herself excluded from the final list of members. Also we will dedicate special attention to 1930, year in which the writer Amélia Beviláqua proposed her candidacy to the ABL and got a sound no as a reply. Besides these occurrences, which represent a true institutional emptiness, we will seek to elucidate the changes that took place in the House of Machado de Assis throughout the years, having as a turning point the year 1976, period in which women eligibility was approved. We will see that such an alteration has been followed, until now, by a rare presence of women, more specifically, by the admission of six writers: Rachel de Queiroz, Dinah Silveira de Queiroz, Lygia Fagundes Telles, Nélida Piñon, Zélia Gattai and Ana Maria Machado. From the resulting frame, we will find out whether the changes made in its statute in 1976 were, finally, indicative of a shift in the traditional and conservative structure of ABL or whether the circumstances and motivation that oriented the attainment of prestige and, consequently, a chair in the Brazilian Academy of Letters was the result of social forces which ratify the literary canon.

A partir de alguns estudos sobre a Academia Brasileira de Letras entidade fundada no Rio de Janeiro, em 1897 , é possível chegar a uma imagem já muito conhecida, porém pouco questionada: a de um espaço cuja compleição é marcadamente androcêntrica. Ainda que a associação entre Academia e dominação masculina possa parecer um tanto apressada, há um conjunto de implicações sociológicas nela inscritas que merecem ser descortinadas e problematizadas. Cabe-nos, assim, percorrer os caminhos teórico-analíticos que nos possibilitem apreender os matizes que tal correlação encoberta, tendo em vista as prerrogativas de gênero. Para tanto, nosso ponto de partida, situado no encalço de alguns déficits documentais, será o período de consolidação da ABL, que assiste à cogitação do nome de uma mulher para figurar entre seus membros fundadores. Trata-se da escritora Júlia Lopes de Almeida que, logo em seguida, viu-se excluída da relação final de agremiados. Também dedicaremos especial atenção a 1930, ano em que a escritora Amélia Beviláqua propõe candidatura à Academia, obtendo como resposta um sonoro não. Além destes episódios, que representam verdadeiros vazios institucionais, buscaremos evidenciar as mudanças que se processaram na Casa de Machado de Assis ao longo do tempo, tendo como ponto de inflexão o ano de 1976, momento em que é aprovada a elegibilidade feminina, alteração regimental esta que fora sucedida pela exígua presença de mulheres até os dias atuais, mais especificamente, pelo ingresso de seis escritoras: respectivamente Rachel de Queiroz, Dinah Silveira de Queiroz, Lygia Fagundes Telles, Nélida Piñon, Zélia Gattai e Ana Maria Machado. A partir do quadro construído, procuraremos mostrar se a referida modificação no Regimento Interno foi sintomática de uma alteração nos contornos tradicionais e conservadores da ABL, ou se as circunstâncias e motivações que orientaram tais ingressos resultam de forças sociais ratificadoras do cânon literário. / From some studies about the Brazilian Academy of Letters an institute established in Rio de Janeiro in 1897 , we can see an image that is widespread but not questioned, i.e., that of a space that tends to be visibly male chauvinist. Although the association of the Brazilian Academy and the male domination may seem to be simplistic, there is in it, in fact, a series of sociological implications that must be scrutinized and questioned. Thus, taking a theoretical and analytical approach vis-à-vis the gender, the aim of this study is to capture the nuances that such an association veils. Therefore, our starting point, which takes into consideration the absence of some documents, will be the period of consolidation of the ABL, when the name of a woman is considered to emerge among its founding members. This woman was the writer Júlia Lopes de Almeida, who immediately afterwards saw herself excluded from the final list of members. Also we will dedicate special attention to 1930, year in which the writer Amélia Beviláqua proposed her candidacy to the ABL and got a sound no as a reply. Besides these occurrences, which represent a true institutional emptiness, we will seek to elucidate the changes that took place in the House of Machado de Assis throughout the years, having as a turning point the year 1976, period in which women eligibility was approved. We will see that such an alteration has been followed, until now, by a rare presence of women, more specifically, by the admission of six writers: Rachel de Queiroz, Dinah Silveira de Queiroz, Lygia Fagundes Telles, Nélida Piñon, Zélia Gattai and Ana Maria Machado. From the resulting frame, we will find out whether the changes made in its statute in 1976 were, finally, indicative of a shift in the traditional and conservative structure of ABL or whether the circumstances and motivation that oriented the attainment of prestige and, consequently, a chair in the Brazilian Academy of Letters was the result of social forces which ratify the literary canon.

Esta dissertação de mestrado procura compreender as origens sociais e trajetórias de escritores brasileiros contemporâneos de prosa ficcional (conto, crônica e romance), que estrearam após o término da ditadura militar brasileira. Foi tomado por baliza temporal o ano de 1988, que marca através da nova carta constitucional a garantia a liberdade de expressão e fim da possibilidade de censura prévia. A partir disso foram realizados diversos levantamentos de dados sobre características morfológicas dos autores em páginas web de editoras cariocas e paulistas: Companhia das Letras, Cosac Naify, Editora 34, Boitempo, Patuá, Ofício das Palavras, 7 Letras, Record e Rocco. Com dados de perfil socioeconômico dos autores a autoras se procedeu a entrevistas e posteriormente análise dos percursos de construção de uma trajetória que objetiva alcançar a posição social de escritor. A partir disso foi necessário pensar esta posição social no Brasil e sua sócio-gênese, bem como a emergência do desenvolvimento profissional das diversas atividades vinculadas a literatura: edição, agenciamento, crítica, etc. O foco na profissionalização da literatura e de seus produtores, levou a formulação de hipótese que relaciona este processo a uma crescente influência de lógicas econômicas no campo literário. Um exemplo expressivo de como ela se apresenta no campo literário é a trajetória de Milton Hatoum e do jogo de tensões e disputas em torno da sua construção enquanto autor do polo erudito, mas que deve cada vez mais adotar estratégias de consagração do polo de grande circulação. Outro desdobramento é o surgimento de um conjunto de autores refugiados nas carreiras universitárias, quando não conseguem viabilizar uma carreira dedicada somente a literatura, e também o investimento de diversos autores e autoras em textos culturais outros que não somente literários (quadrinhos, audiovisual, teatro, etc.), para tornar possível uma vida mais dedicada a literatura. No primeiro caso a universidade protege os escritores de um mercado cada vez mais concorrido e no segundo os escritores aderem a estratégias de promoção de mercado com o fito de se manterem visíveis e viáveis. Objetivando a descrição e compreensão dessa dinâmica elaboramos a tipologia escritores universitário e universitários escritores. O trabalho foi realizado tendo por base a teoria dos campos de Pierre Bourdieu, e focou no campo literário o polo de produção restrita (autônomo) de literatura. / This dissertation seeks to understand the social origins and trajectories of contemporary Brazilian writers of fictional prose (short story, chronicle and novel), which debuted after the end of the Brazilian military dictatorship. It was taken for the time frame 1988, which marks through the new constitutional charter the guarantee of freedom of expression and put an end to the possibility of prior censorship. From this, several surveys of morphological characteristics of the authors were carried out on web pages of publishers from Rio de Janeiro and São Paulo, for instance: Companhia das Letras, Cosac Naify, Editora 34, Boitempo, Patuá, Ofício das Palavras, 7 Letras, Record and Rocco. With data of socioeconomic profile of the authors i have proceeded to interviews and later analysis of the paths of construction of a trajectory that aims to reach the status of writer. From this it was necessary to think about the social position of writer in Brazil and its socio-genesis, as well as the emergence of the professional development of the various activities linked to literature: publishing, agency, criticism, etc. The focus on the professionalization of literature and its producers led to the formulation of a hypothesis that relates this process to an increasing influence of economic logics in the literary field. An expressive example of how it appears in the literary field is the trajectory of Milton Hatoum and the game of tensions and disputes around its construction as an author of the erudite pole, but at the same a writer that must increasingly adopt strategies of consecration of the pole of great circulation. Another development is the emergence of a group of authors refugees in university careers, when they cant afford a career dedicated only to literature, as well as the investment of several authors in other cultural texts (comics, audiovisual, theater, etc.), to make possible a life more dedicated to literature. In the first case, the university protects writers from an increasingly crowded market, and in the second case writers adhere to market promotion strategies in order to remain visible and viable. Aiming at the description and understanding of this dynamics we elaborate the typology writers-universitarian and universitarian-writers. The work was based on Pierre Bourdieu\'s field theory, and focused on the literary field the restricted (autonomous) production pole of literature.

This project investigates the relationship between adherence to traditional masculinity and approval of selected advertising images. Because traditional masculinity includes characteristics supportive of aggression and dominance; I hypothesize that an increase in adherence to traditional masculinity will correlate with approval of the violence found in some print advertisements. Participants include 259 men who completed an anonymous, online, survey. Adherence to masculinity is measured using the Male Role Norm Inventory-Revised (MRNI-R) (Levant, et. al, 2007). Each picture is scored on a 5-point Likert Scale. As hypothesized, an increase in total MRNI-R score, is significantly correlated with an increase in the approval of the depiction of women, men and male/female interactions, with (r=.340, a=0.01) (r=.244, a=0.01) (r=.360, a=0.01), respectively. The results indicate that men reporting adherence to traditional masculinity also see violence in advertising positively. Future research should further examine marketing and its relationship with gender role acquisition, and violence in intimate partners.

Immigration reform in 1965 enabled a large number of Chinese immigrants to settle in the United States. Chinese restaurants expanded quickly both quantitatively and geographically. This thesis researches the interactions between Chinese restaurant employers and employees and their customers. I focus on several Chinese restaurants in a mid-size Southeast U.S. city with a university and I analyze their methods for attracting culturally distinct groups of customers—local Americans and Chinese students or immigrants. I conducted participant observation in two Chinese restaurants and in-person interviews with 14 people from four restaurants whose roles are owners, managers, or servers. I found that Chinese restaurants in my sample shifted their cuisine to accommodate local American customers. I also found that they provided unofficial services for Chinese customers. By operating as quasi cultural centers and information hubs, the restaurants I studied cultivated loyal Chinese customers and maintained their claims to ethnic authenticity.

As urban areas have come to increasing dominate the social landscape, rurality is often defined in negative ways such as being backwards, simple, or even deviant. Urbanormativity is a theoretical approach developed to capture the normative and structural impacts and implications of privileging the urban. The result is not only the construction of urban as correct and positive and rurality as abnormal and backwards, the cultural ideology impacts the structural flow of resources which negatively impacts and results in a marginalization of rural areas. The primary question motivating this research is how does urbanormativity shape the interactions between rural towns and private institutions of higher education located in these towns? In particular, this research examines how the rural anti-idyll and idyll concretize the urbanormative cultural ideology in a local context. Additionally, this research investigates how everyday processes of inequality are enacted adding complexity to how urbanormativity plays out in a particular setting. While much research has examined the role of higher education in urban areas, very little research has examined private higher education in rural places. Still, rural located higher education is important for rural locales as an employer, as a gathering place, as a source of job skills training, and for economic development. Emplacing rural higher education in its respective locale is also important because as an institution, rural located higher education is one mechanism through which rural localities are integrated into larger urban-focused normative and structural systems. Using a case study, this research examined the effects of urbanormativity on local constructions of rurality and the impacts for both the rural locale and the rural located private higher educational institution. In particular, urbanormative cultural ideology played out in concrete ways for both local residents and for faculty and staff of the local private university as they explained the anti-idyllic and idyllic aspects of the local context. These conceptualizations of rurality and their place within the local context hold concrete implications for decision making by residents, those employed by the institution, and the institution itself. Viewed within urbanormativity as an institution that integrates the locale with the larger society and system, this research found that the impact and implications of urbanormativity resulted in challenges including employee and student recruiting and retention as well as becoming a regional university rather than a local college placing both the local community and the private university between a rock and a hard place.

Trinidad's history is both multi-ethnic and multi-cultural. Contemporary Trinidad society reflects this history; and many ethnicities and cultures can be found within Trinidadian culture. However, advertising media, I have found, usually does not reflect the total ethnic composition of Trinidad. Instead, a 'Brown', racially ambiguous, face is used as a brand ambassador. Viewing this phenomenon through the lens of women in media imagery, this work sought to investigate this phenomenon further.

No description available.

In our increasingly complex and interactive world, it becomes ever more difficult to isolate and map the cultural identity of any given region, as bounded and contained cultural places have become a rare occurrence. To further complicate the matter, perspectives, loyalties, and identities shift with time, and appear to shift with circumstance. While cultural conflict per se was not the subject of this study, the ability to quantify differing cultural profiles in one location relative to another may be the beginning of the development of a tool for assessing degrees of difference in neighboring regions, and thus diagnosing the potential for conflict escalation. The Compass System, a holistic model that uses eight archetypal categories to observe and evaluate complex systems, was used for this study. In this exploratory study, 33 restaurants in 5 cities in Chile were rated in these eight categories as perceived by a team of outsider observers. The predominant qualities of each city sampled, determined solely from the sampling of its restaurants, did match, in a general sense, qualities of the city that were otherwise observable. This matching indicates that a tool such as the Compass System can be used to gather a collective regional profile from small sampling, such as an area’s restaurants. Potential uses for further research and development could include conflict management and assessing risk for social instability or escalation of violence.