Orientador: Reynúncio Napoleão de Lima. / Banca: Francisco Cabral de Alambert Junior / Banca: Alexandre Luiz Mate / Resumo: Na presente pesquisa proponho a reflexão sobre a presença de manifestações da cultura popular tradicional como o bumba-meu-boi, o circo, a literatura oral e de cordel, nas obras do grupo Teatro Popular União e Olho Vivo, como elementos estruturais na abordagem de temas de relevância social, tais como greves, conflitos de classe, étnicos e religiosos, alienação. São tomados como base os textos O Evangelho segundo Zebedeu, 1970 e Bumba, meu queixada, 1978; obras representativas dos mais de 40 anos de atividades do grupo nas periferias de São Paulo. Discuto questões significativas para subsidiar o interesse sobre o conceito e prática do Teatro Popular postulado pelo grupo, estabelecendo nexos entre cultura popular tradicional, teatro popular e consciência crítica. Além disso, são abordados aspectos como as formas de produção artística, envolvendo o público ao qual se destina, os locais das apresentações e os elementos que caracterizam a formação do grupo. A atividade do TUOV é uma alternativa significativa de resistência à cultura de massa e o capitalismo pós-moderno, por socializar conhecimento e difundir práticas humanísticas com sua arte teatral. O grupo tem organização semelhante aos grupos de cultura tradicional das comunidades, em que o popular é entendido no sentido de participar da criação, manutenção e divulgação da obra artística. / Abstract: In this research I propose a reflection on the presence of manifestations of popular culture like the traditional bumba-meu-boi, the circus, oral literature and cordel literature, in the works of the group Teatro Popular União e Olho Vivo, as structural elements in addressing issues of social relevance, such as strikes, conflicts of class, ethnics and religious, alienation. Are taken as base the texts O Evangelho segundo Zebedeu, 1970 and Bumba, meu queixada, 1978; representative works of more than 40 years of activities of the group in the outskirts of São Paulo. I discuss significant issues to subsidize the interest on the concept and practice of the Popular Theater postulated by the group, establishing linkages between traditional popular culture, popular theater and critical conscience. Furthermore, are approached aspects such as forms of artistic production, involving the public wich is intended, the locations of the presentations and the elements that characterize the formation of the group. The activity of TUOV is a significant alternative to resistance to culture of mass and post-modern capitalism, for socializing knowledge and disseminate humanistic practices with their theater art. The group is organized similarly to groups of traditional culture of the communities, in which the popular is understood in the sense of participate of the creation, maintenance and dissemination of artistic work. / Mestre

This thesis provides a detailed socio-historical analysis of the evolutionary process of traditional Japanese swordsmanship (kenjutsu) from the inception of distinct martial schools (bugei-ryuha) in the fourteenth century, to its gradual progression into a modern competitive sport (kendo), and a subject of study in the current Japanese education system. The following questions with regards to the development of Japanese swordsmanship were analysed: 1) How did schools dedicated to the study of martial arts (bugei-ryuha) evolve, and why was the sword so important to the early traditions? 2) What was the process in which kenjutsu become “civilised”, and how did it relate to class identity in the Tokugawa period (1600-1868)? 3) In what way did kenjutsu transmute when class distinctions and national isolationist policies (sakoku) were abolished in the Meiji period (1868–1912)? 4) What were the cultural and political influences in the rise of “state” and “popular” nationalism, and how did they affect the “re-invention” and manipulation of kendo in the first half of the twentieth century? 5) How did post-war private and national cultural policy affect the reinstatement of kendo and its usefulness in inculcating a sense of “Japaneseness”? 6) What are the nationalistic motivations, and perceived dangers of the international propagation of kendo with regards to cultural propriotership? Through applying socio-historical concepts such as Norbert Elias’s “civilising process” and Eric Hobsbawm’s “invention of tradition”, as well as various descriptions of nationalism to the evolution of kendo, this thesis demonstrates how the martial art has continued to maintain a connection with the past, while simultaneously developing into a symbolic and discursive form of traditional culture representing a “cultural ethos” considered to be a manifestation of “Japaneseness”. Ultimately, kendo can be described as a kind of participatory based mind-body Nihonjinron. Japan’s current reaction as it ponders the repercussions if it were to somehow lose its status as the suzerain nation of kendo, i.e. as exclusive owners of kendo - a martial art perceived as one of the most representative forms of traditional Japanese culture – is also assessed in this thesis.

Tajikistan is the only post-Soviet republic that went through a civil war after the collapse of the Soviet Union, which negatively impacted all aspects of the country as well as education, particularly girls’ education. The limitations on Tajik girls’ education are due to economics and gender norms that are critical factors. This paper highlights the girls’ education condition in the period from 1995 to 2019, which is the post-war period, in the capital city, Dushanbe, and rural areas of the country. The review answered why girls most likely choose family life (marriage and children) rather than pursuing higher education in their life. In order to study this issue, the study used primary data. This paper studied the traditional culture (gender norms) factor as a barrier to keep girls out of school while providing the context of the social and occurred political changes during the post-war to the present time.

Citizens who lived in the Soviet Union in the early 1980s did so amid a changing political atmosphere. For their extreme patience, they were rewarded with new policies (after 1985) that promised less censorship and more openness from the government to the people. The Soviet woman received special attention and promises in the shape of new reforms in the social spheres of education and employment. As often happens with political change, there were unintended results. As the policy of glasnost' or "openness" attempted to create and provide new possibilities for women, the unforeseen byproduct of the change was that a non-idyllic and even subversive female emerged in literature and society. This thesis will explore the prevailing cultural attitudes surrounding women before glasnost', as well as glasnost' itself and its policies affected the cultural attitudes as they related to the traditional woman's role in society. The thesis will also examine how glasnost' enabled the literary debut of the subversive female character, and foster this previously forbidden type and other prohibited topics. Finally, the discussion will turn to the immediate aftermath of glasnost' with some observations about the stunted position of the Russian woman in literature, and in society, after the breakup of the Soviet Union.This thesis will include brief studies of published shorter works-all by contemporary female Soviet writers of the 1980s-and their fictional characters. As the gender specific deep-seated beliefs, proverbs, laws and anecdotes connected to the "suggested" ideal life of the virtuous Soviet females are analyzed, the thesis will show how these fictional characters' behaviors directly and indirectly allowed Russian contemporary female writers to challenge taboo subjects within Russia through a new literary category of alternative women's prose.

Thesis (Ph.D.)--Ohio State University, 2004. / Title from title page of source document (viewed May 25, 2005). Includes bibliographical references.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009Bitstream added on 2014-06-13T19:07:55Z : No. of bitstreams: 1 carleto_s_me_ia.pdf: 686281 bytes, checksum: 081ee574507b897e3dd01d702d012978 (MD5) / Universidade Estadual Paulista (UNESP) / Na presente pesquisa proponho a reflexão sobre a presença de manifestações da cultura popular tradicional como o bumba-meu-boi, o circo, a literatura oral e de cordel, nas obras do grupo Teatro Popular União e Olho Vivo, como elementos estruturais na abordagem de temas de relevância social, tais como greves, conflitos de classe, étnicos e religiosos, alienação. São tomados como base os textos O Evangelho segundo Zebedeu, 1970 e Bumba, meu queixada, 1978; obras representativas dos mais de 40 anos de atividades do grupo nas periferias de São Paulo. Discuto questões significativas para subsidiar o interesse sobre o conceito e prática do Teatro Popular postulado pelo grupo, estabelecendo nexos entre cultura popular tradicional, teatro popular e consciência crítica. Além disso, são abordados aspectos como as formas de produção artística, envolvendo o público ao qual se destina, os locais das apresentações e os elementos que caracterizam a formação do grupo. A atividade do TUOV é uma alternativa significativa de resistência à cultura de massa e o capitalismo pós-moderno, por socializar conhecimento e difundir práticas humanísticas com sua arte teatral. O grupo tem organização semelhante aos grupos de cultura tradicional das comunidades, em que o popular é entendido no sentido de participar da criação, manutenção e divulgação da obra artística. / In this research I propose a reflection on the presence of manifestations of popular culture like the traditional bumba-meu-boi, the circus, oral literature and cordel literature, in the works of the group Teatro Popular União e Olho Vivo, as structural elements in addressing issues of social relevance, such as strikes, conflicts of class, ethnics and religious, alienation. Are taken as base the texts O Evangelho segundo Zebedeu, 1970 and Bumba, meu queixada, 1978; representative works of more than 40 years of activities of the group in the outskirts of São Paulo. I discuss significant issues to subsidize the interest on the concept and practice of the Popular Theater postulated by the group, establishing linkages between traditional popular culture, popular theater and critical conscience. Furthermore, are approached aspects such as forms of artistic production, involving the public wich is intended, the locations of the presentations and the elements that characterize the formation of the group. The activity of TUOV is a significant alternative to resistance to culture of mass and post-modern capitalism, for socializing knowledge and disseminate humanistic practices with their theater art. The group is organized similarly to groups of traditional culture of the communities, in which the popular is understood in the sense of participate of the creation, maintenance and dissemination of artistic work.

Acompanha DVD / Orientador: Renato Ferracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T14:51:04Z (GMT). No. of bitstreams: 1 Laranjeira_CarolinaDias_M.pdf: 1729226 bytes, checksum: f531fe28b3491fa4d7590d48cf5c2146 (MD5) Previous issue date: 2008 / Resumo: Nesta pesquisa teórica e prática, trato de alguns temas emergentes do processo de treinamento e criação do Grupo Peleja, do qual faço parte como dançarina e pesquisadora, tendo como campo de investigação a corporeidade do Cavalo Marinho - manifestação popular brasileira - associada ao trabalho de ator do Lume (Núcleo Interdisciplinar de Pesquisas Teatrais da Unicamp). O Cavalo Marinho, foco principal desta pesquisa, é uma brincadeira original da Zona da Mata Norte de Pernambuco realizada principalmente por trabalhadores da cana. A partir de experiências práticas, uma narrativa reflexiva é construída tendo como base o conceito de corpo-subjétil, um corpo-em-arte e as idéias sobre níveis de dramaturgia gerados a partir de um trabalho corporal específico. Estes conceitos vão sendo apresentados entremeados aos encontros no campo de pesquisa do Cavalo Marinho, do treinamento com o Grupo Peleja e ao processo de criação do espetáculo "Gaiola de Moscas", resultado prático desta investigação. / Abstract: In this practical-theoretical research, I deal with a number of themes emerging from the training and creative process of the Group Peleja, within I am a dancer and researcher, which include investigations into corporality of popular Brazilian folk manifestation in association with the actor's work within Lume (Interdisciplinary Center for Theatrical Research- UNICAMP). The focus of my research are the corporal process experienced during the investigation based on the dance of Cavalo Marinho, the play - as it is called by its participants- that originated in the Mata North Zone of the state of Pernambuco, practiced principally by sugar-cane workers. Starting from this practiced experience, a reflective narrative is constructed using as base the concept of "subjectilebody", a "body-in-art" that comprises the notion of levels of dramaturgy generated by specific physical work. The reflections stern from meetings, during the field research into Cavalo Marinho, Group Peleja' training and the creative process of the performance "Gaiola de Moscas", the practical result of this investigation. / Mestrado / Mestre em Artes

abstract: ABSTRACT As a composer, Chou Wen-Chung (1923-2019) was a learner and inheritor of Chinese traditional music culture and was committed to carrying it forward. As a native of China who had his primary musical training in the West, Chou Wen-Chung was one of the first Chinese composers to make his mark on Western music. He successfully combined Western elements and Chinese tradition in his music. Chou Wen-Chung was one of the few prominent East Asian composers known in the Western musical world, and his music therefore has had a strong influence on other Chinese composers. In order to understand more clearly his music, I analyzed his chamber work: Yü Ko. This piece was composed in 1965 for 9 instruments: Violin, Alto Flute, English Horn, Bass Clarinet, 2 Trombones, 2 Percussion and Piano. Inspired by the ancient Chinese musical instrument the Qin (also called guqin, or “ancient qin”), which is a plucked seven-string instrument, Chou Wen-Chung composed Yü Ko. Literally meaning “fisherman’s song,” this work was composed originally for the Qin, based on a melody composed by Mao Min-Zhong who was a very noted scholar and Qin player of the late Southern Song dynasty (C.E.1127-1276). This paper provides Chou Wen-Chung’s biography, compositional styles and developments. It lists and explains the most common Chinese traditional cultural elements which he used in his compositions. In particular, it introduces the Qin in detail from the external structure, performance techniques, sound characteristics, the tablature notation, and compositional methods. This document also includes a detailed analysis of Yü Ko in terms of the orchestration, pitch, tonal material, structure and tempo, dynamic and musical materials, and explains Chou Wen-Chung’s imitation of the Qin as well as the influence of Western music shown in this piece. / Dissertation/Thesis / Doctoral Dissertation Music 2020

The intention of this work is to represent the nomadic culture by a luminaire. Inspired by the nomadic Mongolian ger(yurt) and based on its physical and cultural characters, the work is done by designing a portable luminaire with the concept of the solar solution. The whole project is an attempt of bringing traditional culture items to luminaire design and searching for the balance between them.

Made available in DSpace on 2016-04-28T20:13:52Z (GMT). No. of bitstreams: 1 2008 - Antonio Ricardo Pereira de Andrade.pdf: 10505908 bytes, checksum: 9e4dd86b114780d4f7c3264b5c14d5a7 (MD5) Previous issue date: 2008-11-26 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / It investigates the relationships that involve culture, tradition and sustainability in the territory of the Potiguara Indians in Brazil, starting from previous studies on the local environmental, on general ethnographic observations and specifically on the analysis of the histories of life of native people, extrapolating occasionally towards a parallel synthesis of the historical evolution of the western civilization and of present global condition, in terms of those mentioned relationships, which manifest in another dimension of the same problems observed on the micro-region of influence of the Potiguara Indians. The reflections involve, more carefully, the concepts of popular cultures x hegemonic culture proposed by Garc?a Canclini, the concept of traditional populations just as proposed by Diegues, the notion of sustainable development suggested by the World Commission (of UN) on Environment and Development and the debate between ethnic borders and identity, updated recently by Fredrik Barth, although embryonic in the social-anthropological and psychosocial thought as revealed, for instance and, somewhat, more categorically in Marx's and Freud s converging approaches, starting respectively from the economical and territorial disputes and from that of innate instinctive drives economy and their specific patterns of accommodation in the several stages of a civilization process and Norbert Elias' controversial approach assuming that of such tensions tend to be related more closely to the cultural system, and symbolic disputes. In synthesis, we ended for appreciating an extraordinary, although not so surprising, similarity between the central conditions and the derived problems of the current and effervescent Potiguara society in the search of its paradoxical civilized/traditional utopia and what could called, reviving the social-psychological intents of the Freudian maturity, the new and contusing discontents with global civilization. / Investiga as rela??es entre cultura, tradi??o e sustentabilidade no territ?rio dos ?ndios potiguara na Para?ba, partindo de estudos anteriores ali realizados sobre a quest?o ambiental, de observa??es etnogr?ficas gerais e especificamente da an?lise de hist?rias de vida de nativos potiguara. As an?lises extrapolam, quando necess?rio, o eixo local para realizar uma s?ntese paralela da evolu??o hist?rica da civiliza??o ocidental, sob o ponto de vista da tem?tica em apre?o, e das condi??es globais na atualidade, que parecem manifestar, numa outra dimens?o, os mesmos problemas vivenciados na micro-regi?o de influ?ncia dos ?ndios potiguara. As reflex?es envolvem mais detidamente os conceitos de culturas populares x cultura hegem?nica propostos por Garc?a Canclini, o conceito de popula??es tradicionais tal como proposto por Diegues, a no??o de desenvolvimento sustent?vel sugerida pela Comiss?o Mundial (da ONU) sobre Meio Ambiente e Desenvolvimento. Envolve tamb?m, o debate entre fronteiras ?tnicas e identidade, atualizado recentemente por Fredrik Barth, embora embrion?rio no pensamento s?cio-antropol?gico e psicossocial tal como revelam as abordagens de Marx e Freud. Tais abordagens confluem, respectivamente, a partir do caminho das disputas econ?micas e territoriais e do caminho da economia das puls?es instintivas inatas e seus padr?es espec?ficos de acomoda??o para justificar as diversas etapas do processo civilizat?rio. Nesta mesma linha debate-se a abordagem de Norbert Elias que, de alguma forma, tenta recolocar o problema das fronteiras ?tnicas no ?mbito meramente cultural, das disputas simb?licas. Em s?ntese, conclu?mos por apreciar uma extraordin?ria, embora n?o t?o surpreendente, semelhan?a entre as condi??es centrais e os problemas derivados da atual e efervescente sociedade potiguara na busca de sua paradoxal utopia civilizat?ria/tradicional e o que poder?amos chamar, retomando os arroubos s?ciopsicol?gicos da maturidade freudiana, de um novo e contundente mal estar na civiliza??o global.