Tomamos o trabalho de três dramaturgos brasileiros contemporâneos, a saber: Newton Moreno, Fernando Bonassi e Roberto Alvim e suas respectivas peças Dentro, Três cigarros e a última lasanha (em coautoria com Victor Navas) e Pinokio na tentativa de apreender/identificar, a partir de uma perspectiva de análise estética e histórica, o que seria a nossa contemporaneidade, entendida aqui nos termos do que o teórico britânico Raymond Williams, principal referência de nosso estudo, chamou de estrutura de sentimento: um conteúdo de experiência e de pensamento que, histórico em sua natureza, encontra formalização nas obras de arte. É a partir de uma análise que tencione as formas ou convenções dramatúrgicas criadas por cada um dos autores de nosso corpus, inclusive os desvios que operam em relação ao modelo aristotélico-hegeliano de drama, e o conteúdo histórico-social que se precipita nessas formas, orientado, segundo o entendimento de Fredric Jameson, pelas dinâmicas do capitalismo enquanto sistema econômico vigente, que buscamos identificar, ainda que em termos imprecisos, o que seria a nossa contemporânea estrutura de sentimento. Amparam a nossa análise, em sua perspectiva formal, os estudos mais recentes sobre a poética do drama moderno e contemporâneo, que têm em Jean-Pierre Sarrazac seu principal organizador. Assim, buscamos compreender estética e historicamente os dramaturgos propostos e suas dramaturgias, guiando-nos pelo pensamento dos teóricos citados; e, como objetivo último, nos lançamos na tentativa de discernir a estrutura de sentimento dominante de nossa época e suas relações com as estruturas dramatúrgicas criadas no nosso presente histórico. / We take the work of three contemporary Brazilian dramatists: Newton Moreno, Fernando Bonassi and Roberto Alvim and their respective plays Dentro, Três cigarros e a última lasanha (co-authored with Victor Navas) and Pinokio with the intend to see/identify, from an aesthetic‟s and historic‟s perspective of analysis, what is our contemporaneity, here understood by what the Britain theoretical Raymond Williams, our study‟s main reference, calls structure of feeling: a content of experience and thought which, historical in its own nature, it‟s embodied in art. From an analysis which puts in tension the dramaturgical forms or conventions created by each one of our corpus‟ authors, including the shifts they operate in Aristotelian-Hegelian drama standard, and the historical and social content that decants in these forms, guided, according to the Fredric Jameson‟s understanding, by the capitalist‟s dynamic as the present economic system, we intend to identify, even if in inaccurate terms, what is our contemporary structure of feeling. Support our analysis, in its formal perspective, the recent studies about modern and contemporary drama poetic, which have in Jean-Pierre Sarrazac its main organizer. Thus, we intend to understand aesthetically and historically the dramatists proposed and their dramaturgies, guiding ourselves by the above theoretical‟s thought; and, last but not at least, we throw ourselves in the attempt of distinguish the structure of feeling dominant in our time and its relations with the dramaturgical structures created in our historical present.

Tomamos o trabalho de três dramaturgos brasileiros contemporâneos, a saber: Newton Moreno, Fernando Bonassi e Roberto Alvim e suas respectivas peças Dentro, Três cigarros e a última lasanha (em coautoria com Victor Navas) e Pinokio na tentativa de apreender/identificar, a partir de uma perspectiva de análise estética e histórica, o que seria a nossa contemporaneidade, entendida aqui nos termos do que o teórico britânico Raymond Williams, principal referência de nosso estudo, chamou de estrutura de sentimento: um conteúdo de experiência e de pensamento que, histórico em sua natureza, encontra formalização nas obras de arte. É a partir de uma análise que tencione as formas ou convenções dramatúrgicas criadas por cada um dos autores de nosso corpus, inclusive os desvios que operam em relação ao modelo aristotélico-hegeliano de drama, e o conteúdo histórico-social que se precipita nessas formas, orientado, segundo o entendimento de Fredric Jameson, pelas dinâmicas do capitalismo enquanto sistema econômico vigente, que buscamos identificar, ainda que em termos imprecisos, o que seria a nossa contemporânea estrutura de sentimento. Amparam a nossa análise, em sua perspectiva formal, os estudos mais recentes sobre a poética do drama moderno e contemporâneo, que têm em Jean-Pierre Sarrazac seu principal organizador. Assim, buscamos compreender estética e historicamente os dramaturgos propostos e suas dramaturgias, guiando-nos pelo pensamento dos teóricos citados; e, como objetivo último, nos lançamos na tentativa de discernir a estrutura de sentimento dominante de nossa época e suas relações com as estruturas dramatúrgicas criadas no nosso presente histórico. / We take the work of three contemporary Brazilian dramatists: Newton Moreno, Fernando Bonassi and Roberto Alvim and their respective plays Dentro, Três cigarros e a última lasanha (co-authored with Victor Navas) and Pinokio with the intend to see/identify, from an aesthetic‟s and historic‟s perspective of analysis, what is our contemporaneity, here understood by what the Britain theoretical Raymond Williams, our study‟s main reference, calls structure of feeling: a content of experience and thought which, historical in its own nature, it‟s embodied in art. From an analysis which puts in tension the dramaturgical forms or conventions created by each one of our corpus‟ authors, including the shifts they operate in Aristotelian-Hegelian drama standard, and the historical and social content that decants in these forms, guided, according to the Fredric Jameson‟s understanding, by the capitalist‟s dynamic as the present economic system, we intend to identify, even if in inaccurate terms, what is our contemporary structure of feeling. Support our analysis, in its formal perspective, the recent studies about modern and contemporary drama poetic, which have in Jean-Pierre Sarrazac its main organizer. Thus, we intend to understand aesthetically and historically the dramatists proposed and their dramaturgies, guiding ourselves by the above theoretical‟s thought; and, last but not at least, we throw ourselves in the attempt of distinguish the structure of feeling dominant in our time and its relations with the dramaturgical structures created in our historical present.

Tomamos o trabalho de três dramaturgos brasileiros contemporâneos, a saber: Newton Moreno, Fernando Bonassi e Roberto Alvim e suas respectivas peças Dentro, Três cigarros e a última lasanha (em coautoria com Victor Navas) e Pinokio na tentativa de apreender/identificar, a partir de uma perspectiva de análise estética e histórica, o que seria a nossa contemporaneidade, entendida aqui nos termos do que o teórico britânico Raymond Williams, principal referência de nosso estudo, chamou de estrutura de sentimento: um conteúdo de experiência e de pensamento que, histórico em sua natureza, encontra formalização nas obras de arte. É a partir de uma análise que tencione as formas ou convenções dramatúrgicas criadas por cada um dos autores de nosso corpus, inclusive os desvios que operam em relação ao modelo aristotélico-hegeliano de drama, e o conteúdo histórico-social que se precipita nessas formas, orientado, segundo o entendimento de Fredric Jameson, pelas dinâmicas do capitalismo enquanto sistema econômico vigente, que buscamos identificar, ainda que em termos imprecisos, o que seria a nossa contemporânea estrutura de sentimento. Amparam a nossa análise, em sua perspectiva formal, os estudos mais recentes sobre a poética do drama moderno e contemporâneo, que têm em Jean-Pierre Sarrazac seu principal organizador. Assim, buscamos compreender estética e historicamente os dramaturgos propostos e suas dramaturgias, guiando-nos pelo pensamento dos teóricos citados; e, como objetivo último, nos lançamos na tentativa de discernir a estrutura de sentimento dominante de nossa época e suas relações com as estruturas dramatúrgicas criadas no nosso presente histórico. / We take the work of three contemporary Brazilian dramatists: Newton Moreno, Fernando Bonassi and Roberto Alvim and their respective plays Dentro, Três cigarros e a última lasanha (co-authored with Victor Navas) and Pinokio with the intend to see/identify, from an aesthetic‟s and historic‟s perspective of analysis, what is our contemporaneity, here understood by what the Britain theoretical Raymond Williams, our study‟s main reference, calls structure of feeling: a content of experience and thought which, historical in its own nature, it‟s embodied in art. From an analysis which puts in tension the dramaturgical forms or conventions created by each one of our corpus‟ authors, including the shifts they operate in Aristotelian-Hegelian drama standard, and the historical and social content that decants in these forms, guided, according to the Fredric Jameson‟s understanding, by the capitalist‟s dynamic as the present economic system, we intend to identify, even if in inaccurate terms, what is our contemporary structure of feeling. Support our analysis, in its formal perspective, the recent studies about modern and contemporary drama poetic, which have in Jean-Pierre Sarrazac its main organizer. Thus, we intend to understand aesthetically and historically the dramatists proposed and their dramaturgies, guiding ourselves by the above theoretical‟s thought; and, last but not at least, we throw ourselves in the attempt of distinguish the structure of feeling dominant in our time and its relations with the dramaturgical structures created in our historical present.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-11T12:03:07Z No. of bitstreams: 1 Luciano Dutra de Oliveira.pdf: 930071 bytes, checksum: dc1309f79b75c73cab58e153d5d4374d (MD5) / Made available in DSpace on 2017-04-11T12:03:07Z (GMT). No. of bitstreams: 1 Luciano Dutra de Oliveira.pdf: 930071 bytes, checksum: dc1309f79b75c73cab58e153d5d4374d (MD5) Previous issue date: 2017-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work has as main purpose to discuss the notion of "Structures of Feeling" developed by Raymond Williams (1921-1988) in the period from 1950 to 1977. Its aim, therefore, is to find such a theoretical formulation in the joint production of the author about themes linked to culture, politics, literature and communication, identifying, in some measure, its historical genesis (especially in his first four books) their development in later works, and deployed aspects of its interpreters, as Terry Eagleton, John Higgins and Fred Inglis. For its proper implementation will be carried out the immanent analysis of all sources (literature, periodicals, newspapers, dissertations, etc.) already consulted in the Raymond Williams Archives (Archives Wales - Swansea University - Wales) on visits from August to September 2013 / A presente dissertação tem como escopo principal discutir a noção de “Estruturas de Sentimento” desenvolvida por Raymond Williams (1921-1988) no período compreendido entre 1950 e 1977. Seu objetivo, portanto, é localizar tal formulação teórica no conjunto da produção do autor acerca de temas interligados como cultura, política, literatura e comunicação, identificando, em alguma medida, sua gênese histórica (especialmente em seus quatro primeiros livros) seu desenvolvimento nas obras posteriores, além de aspectos desdobrados por seus intérpretes, como Terry Eagleton, John Higgins e Fred Inglis. Para sua adequada execução, será efetuada a análise imanente do conjunto de fontes (bibliografia, periódicos, jornais, teses, etc.) já consultado no Acervo Raymond Williams (Archives Wales – Swansea University – País de Gales), em visitas realizadas entre agosto e setembro de 2013

Post-Soviet nostalgia, generally understood as a sentimental longing forthe Soviet past, has penetrated deep into many branches of Russian popular culture in the post-1989 period. The present study investigates how the Soviet past has been mediated in the period between 1991 and 2012 as one element of a prominent structure of feeling in present-day Russian culture. The Soviet past is represented through different mediating arenas – cultural domains and communicative platforms in which meanings are created and circulated. The mediating arenas examined in this study include television, the Internet, fashion, restaurants, museums and theatre. The study of these arenas has identified common ingredients which are elements of a structure of feeling of the period in question. At the same time, the research shows that the representations of the past vary with the nature of the medium and the genre. The analysis of mediations of the Soviet past in Russian contemporary culture reveals that there has been a change in the representations of the Soviet past during the past twenty years, which roughly correspond to the two decades marked by the presidencies of Boris Yeltsin in the 1990s and of Vladimir Putin in the 2000s (including Dmitrii Medvedev's term, 2008–2012). The critical and reflective component that was present in representations of the Soviet past in the 1990s has slowly faded away, making room first for more commercial and then for political exploitations of the past. Building on Svetlana Boym's conceptual framework of reflective and restorative nostalgia, the present study provides an illustration of how reflective nostalgia is being gradually supplanted by restorative nostalgia. Academic research has provided many definitions of nostalgia, from strictly medical explanations to more psychological and socio-cultural perspectives. The present study offers examples of how nostalgia functions as a label in ascribing political and cultural identities to oneself and to others, creating confusion about the term and about what and who can rightly be called nostalgic.

Structures of feeling represent the interaction between personal lived experience and fixed social values and meanings, which are found in interpretations of works of art. Studying various interpretations of any play in performance can provide a point of access into a culture because the choices made in the production can be compared to each other and to the written text and then reveal how the theatrical company views particular issues within their own time period. This study looks at productions of The Winter's Tale between 1981 and 2002 at the National Theatre and the Royal Shakespeare Company. Using numerous versions of this play not only increases the depth of our understanding of the play but also reveals how the actors and directors interact with British culture. Each production reveals a director's vision for the production as well as his or her own experience within the culture. Some issues and ideas that are reflected in these interpretations include both optimism and cynicism with regard to the political situation and public figures, an increase in spectacle, and secularization.

Este trabalho analisa a inserção de um grupo de músicos e compositores que surge no final da década de 2000 em São Paulo, denominado Nova MPB, num arranjo de forças que constitui o campo da música popular brasileira. Trata-se de caracterizar a estrutura de sentimento, definindo princípios implícitos e explícitos que permeiam a formação da Nova MPB, cristalizada na sua produção musical. Partindo do pressuposto de que a produção musical é uma produção social, o enredamento que sofrem esses artistas, tanto ao se inserirem num arranjo de forças em curso, quanto nas relações que mantém internas ao grupo, tem efeitos nos seus posicionamentos e composições. O objetivo deste trabalho é problematizar os processos sociais que envolvem a produção musical deste grupo enfocado. Dadas as novas formas de produção, distribuição e divulgação arranjadas pelos artistas, valendo-se de avanços tecnológicos, a Nova MPB colocase como protagonista de uma nova produção musical independente, de maneira autônoma e empreendedora. Os artistas formam uma rede colaborativa abrindo caminhos alternativos aos instituídos pela indústria fonográfica. Ademais, o pertencimento à fração artística da classe média intelectualizada e a proximidade da sonoridade de suas composições, ainda que com algumas exceções, reforçam os valores e princípios que conformam o grupo. Os artistas da Nova MPB se relacionam com a tradição da música brasileira de forma peculiar, se aproximando de figuras consagradas e enaltecendo nomes e momentos da história da música popular brasileira que foram obscurecidos pela atuação da indústria fonográfica. Os novos artistas intentam reescrever a história da música brasileira à sua maneira, incorporando gêneros e nomes antes desconsiderados. Por meio de homenagens, parcerias e releituras, eles se aproximam de figuras icônicas, consagradas ou em vias de consagração. A exaltação de momentos do passado dessa história pode ser interpretada como um dos princípios implícitos que compõe a estrutura de sentimento da Nova MPB. / This study aims at analyzing the insertion of a group of Brazilian musicians and composers, collectively known as Nova MPB, in the popular music field, understood here as a power structure. Our purpose is to understand the processes of collective construction of the symbolic positions within this field. The structure of feeling of the Nova MPB group is characterized by both the explicitly and the implicitly principles that guide its formation, which is crystalized in the musical production. Taking for granted that any musical production is a social production, we consider the artists suffer an entanglement as they are inserted in an undergoing power arrangement and as they build relations inside of the group. This entanglement affects their positioning and their compositions. The purpose of this study is to problematize the social processes involved in the musical production of the Nova MPB. Given the new forms of production, distribution, and diffusion proposed by the artists with the help of the new technologies, the Nova MPB, in an autonomous and entrepreneurial way, places itself as the protagonist of a new and independent musical production. A collaborative web is formed as the artists try to find alternatives to the imperatives of the phonographic industry. Although there are a few exceptions, the fact that the artists in general come from an intellectualized middle class and have a similar music style helps the creation of this notion of group. The Nova MPB artists have a peculiar relationship with the Brazilian music: they approach famous and recognized artists, as well as they praise obscure artists and musical movements that the phonographic industry has despised. The new artists intend to rewrite their history by means of the incorporation of long forgotten genres and artists. They approach the already renowned artists and the ascending ones as they organize tributes, produce new versions of their songs, and propose partnerships. The celebration of past moments of the Brazilian popular music history can be interpreted as an implicit principle that compose the structure of feeling of the Nova MPB.

Este trabalho analisa a inserção de um grupo de músicos e compositores que surge no final da década de 2000 em São Paulo, denominado Nova MPB, num arranjo de forças que constitui o campo da música popular brasileira. Trata-se de caracterizar a estrutura de sentimento, definindo princípios implícitos e explícitos que permeiam a formação da Nova MPB, cristalizada na sua produção musical. Partindo do pressuposto de que a produção musical é uma produção social, o enredamento que sofrem esses artistas, tanto ao se inserirem num arranjo de forças em curso, quanto nas relações que mantém internas ao grupo, tem efeitos nos seus posicionamentos e composições. O objetivo deste trabalho é problematizar os processos sociais que envolvem a produção musical deste grupo enfocado. Dadas as novas formas de produção, distribuição e divulgação arranjadas pelos artistas, valendo-se de avanços tecnológicos, a Nova MPB colocase como protagonista de uma nova produção musical independente, de maneira autônoma e empreendedora. Os artistas formam uma rede colaborativa abrindo caminhos alternativos aos instituídos pela indústria fonográfica. Ademais, o pertencimento à fração artística da classe média intelectualizada e a proximidade da sonoridade de suas composições, ainda que com algumas exceções, reforçam os valores e princípios que conformam o grupo. Os artistas da Nova MPB se relacionam com a tradição da música brasileira de forma peculiar, se aproximando de figuras consagradas e enaltecendo nomes e momentos da história da música popular brasileira que foram obscurecidos pela atuação da indústria fonográfica. Os novos artistas intentam reescrever a história da música brasileira à sua maneira, incorporando gêneros e nomes antes desconsiderados. Por meio de homenagens, parcerias e releituras, eles se aproximam de figuras icônicas, consagradas ou em vias de consagração. A exaltação de momentos do passado dessa história pode ser interpretada como um dos princípios implícitos que compõe a estrutura de sentimento da Nova MPB. / This study aims at analyzing the insertion of a group of Brazilian musicians and composers, collectively known as Nova MPB, in the popular music field, understood here as a power structure. Our purpose is to understand the processes of collective construction of the symbolic positions within this field. The structure of feeling of the Nova MPB group is characterized by both the explicitly and the implicitly principles that guide its formation, which is crystalized in the musical production. Taking for granted that any musical production is a social production, we consider the artists suffer an entanglement as they are inserted in an undergoing power arrangement and as they build relations inside of the group. This entanglement affects their positioning and their compositions. The purpose of this study is to problematize the social processes involved in the musical production of the Nova MPB. Given the new forms of production, distribution, and diffusion proposed by the artists with the help of the new technologies, the Nova MPB, in an autonomous and entrepreneurial way, places itself as the protagonist of a new and independent musical production. A collaborative web is formed as the artists try to find alternatives to the imperatives of the phonographic industry. Although there are a few exceptions, the fact that the artists in general come from an intellectualized middle class and have a similar music style helps the creation of this notion of group. The Nova MPB artists have a peculiar relationship with the Brazilian music: they approach famous and recognized artists, as well as they praise obscure artists and musical movements that the phonographic industry has despised. The new artists intend to rewrite their history by means of the incorporation of long forgotten genres and artists. They approach the already renowned artists and the ascending ones as they organize tributes, produce new versions of their songs, and propose partnerships. The celebration of past moments of the Brazilian popular music history can be interpreted as an implicit principle that compose the structure of feeling of the Nova MPB.

This thesis examines how the first 10 seasons of CSI: Crime Scene Investigation (CBS, 2000–) engage with discourses on science. Investigating CSI’s representation of scientific practices and knowledge, it explicitly attempts to look beyond the generic assumption that forensic crime dramas simply ‘celebrate’ science. The material is analysed at three different levels, studying CSI’s wider cultural discursive context, genre linkages, and audio-visual form. In order to fully account for the series’ specificity, the thesis undertakes comparative analyses of earlier forensic crime dramas and other relevant audio-visual material. Close textual readings of certain thematic tropes, narrative devices and visual imagery in CSI are thus supplemented by historical studies of their extended generic backgrounds. This textual-historical approach generates a general argument that CSI dramatizes and evokes a number of different, and often contradictory, scientific ideas, perspectives and discursive shifts. The thesis concludes that CSI stages a transnational cultural forum, simultaneously engaging with residual, dominant and emergent discourses on science.  Throughout, close attention is paid to the multiple perspectives and viewpoints that allow the series to appeal to a wide and heterogeneous global audience. Furthermore, the thesis asserts that CSI specifically articulates a post-genomic structure of feeling, which begins to express the wider cultural implications of an emergent discursive shift whereby the instrumentalisation of molecular science seemingly offers more possibilities for human intervention into biological processes. Thus, the study demonstrates how CSI’s discourse on science treats recent scientific developments as engendering a cultural process of redefinition, questioning foundational concepts such as truth, identity, body, kinship and emotions.

文中所稱之「文化取向的傳播研究」，是以英國的文化研究（CULTURAL STUDIES）為 代表。第一章導論，分析傳播之主流研究，並指出其極限，進而說明文化研究正可補 其不足。第二章試圖勾勒出研究的內涵。第三、四、五章闡釋文化研究的巨擘──雷 蒙•威廉斯之三組核心概念，分別是：１•文化、傳播與過程社區（COMMUNITY OF PROCESS） ；2•感知結構（STRUCTURE OF FEELING） ；３•整體傳播過程中的意圖 （INTENTION） 與霸權（HEGEMONY）。第六章結論，檢討威廉斯所代表之文化研究， 並嘗試指出威廉斯論點中何供本地文化及傳播研究借鏡之處。