A partir de uma perspectiva que valoriza a teoria dos gêneros literários, o presente trabalho busca verificar como se processam, na obra da escritora brasileira Hilda Hilst, as relações entre lírica, teatro e prosa narrativa. Seu principal parâmetro teórico é o trabalho de Peter Szondi: Teoria do drama moderno, livro em que o crítico alemão aborda a mistura de gêneros literários como tentativas de superar, na criação estética, problemas objetivos relacionados à situação histórica de determinada forma literária. No caso de Hilda Hilst, serão analisadas como as incursões da autora no teatro e na prosa narrativa funcionam como resposta problemática à recepção de uma lírica inicialmente balizada pelos ideais poéticos da Geração de 45. Demonstro, assim, como as tentativas da autora em outras modalidades discursivas produzirão alterações formais significativas em sua obra, a partir da contaminação estrutural de um gênero para o outro. / Taking into consideration a perspective that privileges the Theory of literary forms, this study aims at verifying the way it works, in the production of the Brazilian writer Hilda Hilst, the relations among lyrics, theater and narrative prose. The theoretical parameter is the works Theory of Modern Drama, by Peter Szondi, in which the German critic deals with the question of mixture of literary forms as an alternative to overcome objective questions related to the historical situation of a certain literary form. Concerning Hilda Hilst, we intend to analyse how the incursions of the author in theater and narrative prose appear as a problematic response to the reception of a lyrics initially guided by the poetic ideals of the Generation of 45. As we intend to demonstrate, the attempts on the part of the author in other discursive types will produce significant formal modifications in her work, by means of the contamination of structures of one gender to another.

Publicadas em 1968, as Memórias de um gigolô, romance de Marcos Rey, têm sido lidas pela crítica a partir de categorias genéricas como romance-folhetim e narrativa picaresca. Ainda que descrevam alguns aspectos de composição do livro, as generalizações da crítica deixam em segundo plano a presença de um universo brasileiro também em operação no romance, e diluem, por outro lado, os dados de historicidade contidos dentro dele. De acordo com nossa perspectiva, esses dados históricos podem ser recolhidos através da caracterização do narrador como um cafetão que possui habilidade com o manejo das palavras, e que se considera um intelectual subdesenvolvido. Levando em conta essa imagem em negativo do homem de letras brasileiro como gigolô das palavras, o objetivo deste trabalho é examinar o romance de Marcos Rey a partir de dois contextos significativos: a trajetória profissional construída pelo autor no coração das indústrias do entretenimento desde os anos 1950, e o momento histórico vivido pelo Brasil nas décadas de 1960 e 1970, tempos de ditadura militar e de consolidação da indústria cultural no país. As Memórias de um gigolô também são vistas aqui como ponto de convergência para os futuros rumos da ficção de Marcos Rey, cada vez mais aberta à presença de personagens ligados ao universo das letras. Através da análise de dois de seus contos, Soy loco por ti América! (1977) e O bar dos cento e tantos dias (1977), veremos de que modo essas questões se integram à sua obra posterior. / Published in 1968, Marcos Reys novel Memoirs of a gigolo has been categorized by critics in broad literary genres such as the serial novel and the picaresque narrative. These readings do not draw enough attention, though, to the presence of a typically Brazilian social universe in Reys books, thereby diluting its marks of historicity. This dissertation seeks to assess the historical dimension of Reys work by focusing on the novels narrator, a pimp who is endowed with unusual literacy and considers himself to be an underdeveloped intellectual. Through this negative version of the Brazilian literary men as literary gigolo, it analyzes Reys novel from a double perspective: the writers professional trajectory in the entertainment industry starting in the 1950s, and the historical context of the 1960s and 1970s, times both of a military dictatorship in the country and of the consolidation of its national culture industry. Memórias de um gigolo is also considered, in the present work, as a blueprint to Reys subsequent work, increasingly centered on characters that are related to the literary universe. Through the analysis of two short stories, Soy loco por ti América! (1977) and Bar dos cento e tantos dias (1977), we try to understand in which ways these themes are ingrained in Reys later work.

Orientador: Fábio Akcelrud Durão / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T00:44:26Z (GMT). No. of bitstreams: 1 Ponte_Charles_D.pdf: 5158221 bytes, checksum: 021381a1dcdf598dfa5687c77fa4f959 (MD5) Previous issue date: 2011 / Resumo: Ao longo do último século, o modus operandi da indústria cultural foi responsável por um movimento de padronização dos artefatos culturais, constituindo um eixo tensional entre repetição e inovação que abarca em todas as artes, mas especialmente no cinema, tendo este uma maior necessidade de retorno dos investimentos feitos para sua realização. Dessa forma, considerando o cinema feito nos Estados Unidos como o principal representante do entretenimento fílmico, é natural que esta homogeneização lhe seja mais intensa, um aspecto convenientemente negligenciado pelas críticas especializadas, posto que estas costumam enfatizar, acertadamente, aqueles filmes de maior complexidade, terminando por iludir os leitores acerca da real porcentagem de filmes com tal qualidade. Assim, o objetivo desta tese é observar a composição de uma dessas obras costumeiramente não contempladas pela crítica, a trilogia de horror Pânico (1996; 1998; 2000), dirgida por Wes Craven, partindo da leitura cerrada de seus principais componentes estruturais - enredo, personagens, espaço e foco narrativo - e comparando-a a outros de seu subgênero, para verificar a existência de uma tensão dialética de aproximação ou distanciamento da estandardização das formas diegéticas e como esses movimentos estão relacionados com as estratégias de comercialização dos produtos. Para isso, este trabalho lança mão de um corpo de teorias de diversas áreas, desde a literatura e o cinema até o grupo de pensadores abarcado pelo epíteto Teoria, mas sempre permeado pelo conceito de indústria cultural de Adorno e Horkheimer (1985) e pelas elaborações posteriores de Adorno (2001) sobre do tema. No corpus, por um lado, a tensão entre a repetição das formas e seu rearranjo ocorre em todos os componentes selecionados, de modo que a trilogia Pânico continua a pertencer ao subgênero slasher em sua composição, ao menos na superfície, apesar de conter uma grande parcela de hibridização de outros gêneros, notadamente a estruturação das duas personagens principais, heroína e monstro, bem como de parte de sua découpage; por outro lado, há uma parcela de inovações atribuídas à trilogia, em especial a presença de uma variada veia metaficcional, uma raridade em todo o gênero horror, mas também a diminuição das cenas violentamente explícitas. Contudo, pode-se confirmar, através da interpretação dos resultados, que as modificações permitidas nunca ameaçam a quebra da quarta parede, ou mesmo a expectativa da plateia em relação aos filmes, de modo que se devem considerar praticamente todas as alterações como controladas para emular uma novidade falaciosa / Abstract: Throughout last century, the culture industry's modus operandi was responsible for a standardizing movement in cultural artifacts, constituting a tensional axis between repetition and innovation that embraces all arts, but mainly in film, having the latter a greater need for returns in its production investments. That way, regarding the American cinema as the main representative of filmic entertainment, it is natural that its homogenization is more intense, an aspect conveniently overlooked by specialized critiques, since they tend to emphasize, correctly, those films of higher complexity, ultimately deluding readers about the actual percentage of quality works. Thus, the objective of this dissertation is to observe the composition of one of these usually non critically contemplated ones, the horror trilogy Scream (1996; 1998; 2000), directed by Wes Craven, starting by the close reading of its main structural components - plot, characters, setting and point of view - and comparing it to others pertaining to the same subgenre, in order to verify the existence of a dialectic tension of approximation or distancing to the standardized diegetic forms and how these movements are related to product selling strategies. For doing so, this work makes use of a body of theories from multiple areas, from literature and film studies to the group of thinkers encapsulated under the alias Theory, but always permeated by Adorno and Horkheimer's concept of culture industry (1985), and by Adorno's further elaborations on the theme (2001). In the corpus, on the one hand the tension between formal repetition and its rearrangement occurs in all selected components, so that the trilogy remains as a member of the slasher subgenre, at least in its surface, despite containing a great amount of hybridization, notably by the structuring of its main characters, heroin and monster, as well as part of its découpage; on the other hand, there is a number of innovations attributed to the trilogy, especially the presence of a varied metafictional vein, rare in all of the horror genre, but also the lessening of violently graphic scenes. However, it can be confirmed, through the interpretation of results, that the allowed modifications never threaten the breaking of the fourth wall, or even the audience expectations for the films, in a way that practically all alterations should be considered as controlled to emulate a fallacious novelty / Doutorado / Literatura e Outras Produções Culturais / Doutor em Teoria e História Literária

Orientador: Mário Luiz Frungillo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T23:30:14Z (GMT). No. of bitstreams: 1 Silva_MarcusViniciusda_M.pdf: 1147261 bytes, checksum: a579e68f331bf36d0559797a5544fe7c (MD5) Previous issue date: 2012 / Resumo: Este trabalho propõe uma reflexão sobre os elementos temáticos e estéticos presentes nas canções de Adoniran Barbosa, essencialmente em suas letras, que despertaram interesse de seus mediadores no resgate do samba "autêntico", durante o processo de redefinição da MPB, que se deu entre os anos 60 e 70. Para isso, pretende-se observar as letras de suas canções presentes nos três primeiros elepês: Adoniran Barbosa 1974, Adoniran Barbosa 1975, e Adoniran e Convidados, de 1980. Esse recorte visa levantar quais foram os possíveis critérios de escolha das canções por seus produtores culturais, e analisar, a partir dos contextos político, econômico e sócio-cultural, que fatores possivelmente influenciaram na concepção de algumas dessas obras, bem como de que forma diversas dessas canções foram lidas e entendidas mais de vinte anos após serem compostas. A dissertação está dividida em duas partes. A primeira parte é composta por dois capítulos. O primeiro abrange a trajetória de análise da obra de Adoniran. Nesse capítulo, procura-se contextualizar o artista como parte do processo de racionalização da indústria cultural no Brasil - a partir dos conceitos frankfurtianos - e como esse processo, que acontece em concomitância com um momento de grandes tensões políticas e ideológicas, durante o regime militar, permite a consolidação de um cenário único e propício para a formação da MPB renovada. O resgate da figura de Adoniran nesse momento, na minha perspectiva, tem um significado político, ideológico e cultural bastante importante e singular no processo de construção e consolidação da música e da cultura brasileira. No segundo capítulo, pretende-se fazer um levantamento das principais críticas feitas sobre os álbuns que fazem parte do corpus da análise, essencialmente presentes em periódicos e nos encartes de seus elepês, com o objetivo de revelar de que maneira jornalistas, intelectuais e críticos de música influenciaram na constituição da presença de Adoniran na tradição do samba. Já a segunda parte da dissertação dedica-se à análise das canções presentes no corpus, procurando desenvolver, em dois capítulos diferentes, o caráter ambíguo das canções de Adoniran Barbosa inseridas em três debates recorrentes no contexto da MPB renovada: trabalho x malandragem; tradição x progresso; som local x som universal. No primeiro capítulo, o objetivo é realizar uma leitura das canções de Adoniran que refletem, do ponto de vista da recepção, um caráter de resistência à ordem vigente e à ética do trabalho, mas ao mesmo tempo caminham em rumo contrário ao discurso da malandragem tradicional dos sambas cariocas. É outra forma de resistência, que assume caráter de denúncia ao universo suburbano do trabalho. O segundo capítulo diz respeito essencialmente ao entendimento de uma postura crítica e contrária ao ideal de progresso assumido pela elite paulistana, que entendia São Paulo como a locomotiva do país desde o início do século. Ainda nesse capítulo, pretende-se desenvolver um debate estético e ideológico existente no cenário da música brasileira desse período, anos 60 e 70, tendo por um lado o som local, "autêntico" e "de raiz", representado pela MPB renovada, e o som universal, "inovador" e "moderno", representado pela Jovem Guarda e pela Tropicália / Abstract: This dissertation proposes an extended treatment on the aesthetic and thematic features of songs by Adoniran Barbosa, mainly in his lyrics, which led to interest of cultural agents in the rescue of the "authentic" samba, throughout the process of redefinition of MPB (Brazilian Popular Music), from the 60?s to the late 70?s. In order to do so, the song lyrics presented in his first three LPs were studied: Adoniran Barbosa 1974, Adoniran Barbosa 1975, and Adoniran and Guests 1980. In the period chosen we have questioned what the criteria for choosing the songs were, from the perspective of cultural producers, and analyzed possible influences in the composition of some of these works, according to political, economic and socio-cultural contexts, as well as how several of these songs have been read and understood over twenty years later. The thesis is divided into two parts. The first part consists of two chapters. The first covers the line of development of Adoniran?s work. In this chapter, the artist is contextualized as part of the rationalization process of the cultural industry in Brazil - according to Frankfurt School concepts - and this process, which happens to coincide with a time of great political and ideological tension, during the military regime, is comprehended as the consolidation of a unique and conducive scenario that allows the formation of the renewed MPB. The rescue of the figure of Adoniran at that point, in my view, has a political, ideological and cultural meaning which is very important and unique in the construction and consolidation of Brazilian music and culture. In the second chapter, the main criticisms on the analyzed albums were studied, mostly from newspapers and LP inserts, with the objective to expose how journalists, intellectuals and music critics have influenced the constitution of Adoniran?s presence in the tradition of samba. The second part of the dissertation, also in two different chapters, is the analysis of the lyrics presented in the corpus, aiming to develop the ambiguous character of Adoniran Barbosa?s songs in relation to three recurring debates in the context of renewed MPB: work x truancy; tradition x progress; local sound x universal sound. In the first chapter, the goal is to read Adoniran songs, from a perspective of reception, as resistance to the existing order and work ethics, as they take an opposite direction from the traditional discourse of truancy presented in sambas from Rio. It's a way of resistance, which denounces the universe of suburban work. The second chapter is dedicated to the understanding of the São Paulo elite?s posture of criticism and opposition to an ideal of progress, as they believe the state to be "the locomotive of the country" since the beginning of the century. Also in this chapter, we have presented the aesthetical and ideological debate in the Brazilian music from that period, the 60's and the 70's: on one hand the local, "authentic" and "native/root" sound, represented by the renewed MPB; on the other, the universal, "innovative" and "modern" sound, represented by Jovem Guarda and Tropicália / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

本研究旨呈現繪本在文化工業的運作中，當涉及多元家庭繪本─特別是同性婚姻主題時，成人及幼兒雙方會展現何種相互作用的權力關係。 研究者使用民族誌的研究方法深入田野，記錄成人及幼兒對繪本的想法與行動。本研究關注「產製端」─成人的兒童觀及意識形態如何影響產製行動，以半結構式訪談蒐集產製者的想法；並關心「閱聽端」─幼兒作為主動的閱聽者將如何詮釋文本，以綜合參與式觀察及半結構式訪談來蒐集兒童的行動與言說。透過雙方的回應，探究文化工業中多元的行動樣貌。 主要有四項結論如下： 1.審視社會的集體焦慮：創作者的積極作為與幼兒的主動詮釋 不同於多數焦慮的成人，有一群產製者對閱聽眾如何詮釋文本抱持樂觀態度，運用各式策略開創此類主題「可見的」社會空間。另一方面，過去被認為需要保護的幼兒，談論的內容也遠比成人預想的還要複雜和成熟。當成人願意放下成見，採互為對等的態度與幼兒進行談論時，能夠創造更多可能性，降低社會的集體焦慮。 2.兒童沒有想像中脆弱：詮釋必然發生在脈絡之中 幼兒的詮釋具多種樣態，他們藉由舊經驗發展出柔軟與堅實的視角，在分享歷程中直率地表達自己的想法，也不輕易受他人訊息洗腦，有別於「成人集團」庸人自擾的想像。因為影響幼兒回應的因素複雜，所以詮釋勢必動態展現在脈絡之中，藉由持續討論這些議題，才能構築兒童的詮釋樣貌。 3.以創造機會取代告知：傳遞應避免不平等的再製 產製者不斷強調，成人重要的行動核心是以創造機會取代告知，在行動中尤需留意自身的態度，避免淪為再製不平等的另一種操弄手段。 4.矛盾與率直的拉鋸戰：主動的施為者vs.被動的載體 產製及閱聽兩端真實樣貌與行動的對照，交織出文化工業中的無限活力。文化工業的運作關係應延伸至「主動施為者」與「被動載體」的拉鋸戰，成人群體間的差異會產生不同行動，幼兒也並非永遠是被動的承受者，雙方產生相互的連帶影響。唯有透過認清運作邏輯，才能夠看清產製結構並思考己身的行動。 研究者認為成人及幼兒的相處，最重要的關鍵是回歸雙方的「尊重」。由於過去仍普遍忽略兒童的聲音，因此特別需要學者投入與兒童相關的實證研究。若能增加成人對幼兒的理解，並降低自身的矛盾，相信兩者的互動關係必定能有所轉化，創造更多新的可能性。 / Related to the experience of reading, the power relationship between adults and children is unequal, because generally, children are passively received the information from adults. Adults use their own viewpoints to shape children and make decisions for them. In the context of the operation of cultural industries, this study wants to understand how the adults produce the childhood images based on their viewpoints, and to explore how the children response to the pre-selected picture books about same-sex marriage. One of the objectives of this research is to point out the logic of production about picture books, especially controversial issues, such as same-sex marriage. The other objective is to remind adults that children’s personal opinions and their original personality should be valued. In particular, children are usually stronger than we think in common sense. This study uses ethnographic methods, including gathering the natural response from children’s narratives and face-to-face interview with children. In addition, this study also interviews some relevant workers related to picture books production and marketing. The result will show the logic of producing the picture books, and also show the discrepancy between the children’s real reaction and what adults traditionally anticipate, helping adults to set aside their own values and really look at how the young children think. There are four main findings from this study as follows: 1.Examine the collective anxiety of society: Different from the anxious adults in the society, those who related to picture books production show positive action. The interpretation made by children is also more complex than adults expected. 2.Children are not fragile as adult's imagination: The children are stronger and more mature than we expected when it comes to talking about same-sex marriage. The interpretation must take place in the context, because it is built by a number of factors. 3.To create opportunities and not to instill knowledge: The adults should be aware of actions to avoid making another system of inequality. 4.The “tug-of-war” between contradictory person and straightforward person: The adults and the children are playing “active giver” and “passive carrier” at the same times, and creating infinite vitality of the operation in the cultural industry. This study hopes that adults will in turn rethink their social roles, attitudes and methods of education and teaching, by, for example, respecting and listening to children more than prescribing their behavior and thinking. The research aims to provide evidence that kindergarten children are mature enough to learn about homosexuality and to transform Taiwan’s value system to be more open attitude about same-sex marriage.

The purpose of this essay is to examine how the novel My Year of Rest and Relaxation (2018 / 2019) by Ottessa Moshfegh, through the lens of dissociative feminism, can be interpreted as a critique regarding commodification of the body. To explore this claim, I discuss the protagonist’s dissociative feminist behaviour in contrast to her friend Reva’s femcel-behaviour. How the protagonist and Reva react to societal pressure in the form of beauty standards becomes the evidence of a critique that I believe Moshfegh is trying to tell throughout the novel. By examining how the two women are either showing approval or rejection of beauty standards either physically or psychologically, the theory of the docile body and culture industry is brought into the discussion. This leads to a discussion of why docile bodies are subjugated to beauty standards and if self-care routines are either done for the self or the observers’ gaze. I show evidence of how the novel criticizes a society that forces oppressive ideals upon women by discussing the thought process of the protagonist. This essay is therefore written from the perspective of the protagonist being the force against beauty standards and how through continuous dissociation, the protagonist is set free from societal norms, while Reva acts as a symbol for all the women that are mouldable. This essay analyses four passages that show how Moshfegh delivers an implicit critique through four distinct ways: dissociation, power, docility, and sedation. Finally, the essay shows evidence of how the novel on its last page creates a generalization of women, signalling that women must dare to break the patterns of oppressive ideals to become free individuals.

Research suggests that society is facing continued increasing economic inequalities where structural forces such as neoliberalism and globalisation are behind the emergence of a new group of globally super-rich. Since media is a place where social class is expressed, depicted and represented, it can have a particularly important role regarding what discourses about the global upper class are generated. The purpose of this study is to critically examine how the portrayal and re-contextualisation of the global upper class can produce discourses, by specifically analysing semiotic elements in the film Triangle of Sadness by Ruben Östlund. The following research question was formed: What discourses are produced about the globally super-rich in the film Triangle of Sadness?  The theoretical framework of this study has a critical point of departure, according to which media is not a neutral means of communication, and through various expressions media can produce discourses that serve certain groups and interests. This framework also includes contrasting the concept of culture industry to other perspectives such as Bourdieu’s field theory, which serves the study as reflective perspectives that can provide generalising arguments about the role that the film industry plays in a society. The method used in this study is a multimodal critical discourse analysis, which permits a rather detailed analysis of a choice of semiotic resources in the chosen film. The selection of empirical material was made by first watching the film as a whole, then identifying relevant parts for analysis. The sequences were chosen based on where the super-rich are in focus and portrayed in the film. The analysis is structured by the identified discourses in regard to the representation of the super-rich. The result of the study is that Triangle of Sadness produces five discourses about the globally super-rich: The extreme wealth of the global super-rich, the global super-rich as wicked, the fall of the global super-rich, the super-rich as vulnerable and the super-rich as powerless. Overall, the film is a mockery of the super-rich. An explanation for why Östlund produces this discourse, according to Bourdieu, could have to do with his position as a consecrated avant-garde in the production field.

L’histoire du concept d’idéologie est riche des différentes définitions qui ont tenté de le circonscrire, en tension entre la description de visions du monde et la dénonciation de la « fausse conscience ». Chez les penseurs regroupés sous le nom d’ « École de Francfort », l’idéologie en vient à équivaloir au phénomène de l’industrie culturelle, c’est-à-dire la mise au service de la raison technique dans la production de la culture. Le statut du cinéma est intéressant à cet égard : non seulement est-ce un art né à l’époque industrielle et indissociable des possibilités techniques offertes par celle-ci, mais il a été mobilisé pour de nombreuses entreprises propagandistes, plus ou moins subtiles. La question directrice de l’interrogation est donc la suivante : selon la théorie critique de l’École de Francfort, le cinéma peut-il être considéré comme de l’art ou est-il confiné au domaine de l’idéologie ? Autrement dit, le cinéma peut-il revendiquer un statut qui ne ferait pas de lui qu’un support de la domination de l’humain par l’humain ? / The history of the concept of ideology is rich in different definitions that have attempted to circumscribe it, in a tension between the description of different worldviews and the denunciation of “false consciousness.” For the thinkers grouped under the name “Frankfurt School” ideology comes to equate the phenomenon of the Culture industry, that is to say, technical reason put at the service of the production of culture. The status of film in interesting in this regard: not only is it an art born in the industrial age and inseparable from the technical possibilities offered by the industry, but it has also been used for numerous, more or less subtle, propagandist undertakings. The leading question of our inquiry is thus the following: according to the critical theory of the Frankfurt School, can film be considered as a genuine form of art or is it confined to the realm of ideology? In other words, can film claim a status which would not make it solely a support of human-over-human domination?

This diploma thesis researches the impact of a literary prize on the media image of the awarded book in 2012. More precisely I pursue these awards and winning titles: Jaroslav Seifert Prize (Vladimír Binar: Číňanova pěna), Jiří Orten Award (Vratislav Maňák: Šaty z igelitu), Josef Škvorecký Award (Kateřina Tučková: Žítkovské bohyně), Magnesia Litera - The Book of the Year (Michal Ajvaz: Lucemburská zahrada). First I analyse the change of the quantity (the number of references and the share within the text), then I focus on the modification of the journalistic assessment of the title (on the scale positive - neutral - negative). In first case I use a quantitative analysis of media content, in the second case I use a comparative semiotic analysis. My sample are these Czech periodicals, in alphabetical order: A2, Aktuálně.cz, Hospodářské noviny, Host, iDnes.cz, Lidové noviny, Literární noviny, Reflex, Respekt, Tvar. The main output is a discovery, how the Czech print and online written media reflect the results of the literary prizes, also I (try to) determine the media power of each award.

Esta dissertação traz uma abordagem das questões sócio-históricas e culturais que nortearam a formação de inúmeras conceituações acerca da cultura brasileira durante as décadas de 1960 e 1970, e tem como objeto de pesquisa a vida e a obra do poeta Solano Trindade, suas atividades intelectuais, poéticas e teatrais. No aporte teórico do trabalho, as manifestações da cultura popular e as suas relações com as práticas culturais autenticadas pelos meios de comunicação de massa foram investigadas, com o intuito de trazer à luz as conseqüências desse encontro, os debates sobre as políticas culturais que surgiram na tentativa de controlar tais expressões, os focos de resistências e a configuração social pautada pela modernidade capitalista. A idéia de contribuir para uma noção de cultura, e como ela perpassou inúmeras definições na sociedade brasileira, atravessou a maioria das indagações durante as leituras e análise de dados que guiaram a redação. Revisar um período conturbado em termos de novos horizontes sociais e políticos no Brasil, nos permitiu avaliar uma realidade nem sempre clara para a maioria dos grupos sociais. / This dissertation brings socio-historical and cultural issues that guided the formation of many conceptualizations about the Brazilian culture during the 1960s and 1970s in Brazil, and aims to research the poet Solano Trindade\'s life and work, his intellectual, poetic and theatrical activies. In support of theoretical work, the popular culture manifestations and its relations with the cultural practices certified by the mass media were investigated in order to bring to light for the consequences of this meeting, the discussions about the cultural politics that have emerged in attempt to control such expression, the focus of resistance and social configuration lined by capitalist modernity. The idea of contributing to a sense of culture, and how it permeates many settings in Brazilian society, it crossed most of the inquiries during the readings and data analysis that guided the writing. To review a confused period in terms of new social and political horizons in Brazil allowed us to evaluate a fact not always clear to most social groups.