Orientador: Grácia Maria Navarro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T21:58:46Z (GMT). No. of bitstreams: 2 Giannetti_JuliaCorrea_M.pdf: 207669044 bytes, checksum: afcffbd3230f5302ec51d76e7b3e8499 (MD5) Giannetti_JuliaCorrea_M_ANEXO.zip: 148324128 bytes, checksum: bf9cc521572a5d90e46164bbe224a694 (MD5) Previous issue date: 2015 / Resumo: O trabalho traz à tona a vida e obra da artista da dança brasileira Maria Esther Stockler. Em parceria com José Agrippino de Paula - autor e diretor influente do tropicalismo - concentraram suas produção cênicas inovadoras nos anos de 1967 a 1970. Posterior a isso, o foco de suas pesquisas começa, cada vez mais, a ser conduzido para as experiências antropológicas em diferentes lugares que morou e viajou, como África, Arembepe-BA no Brasil, Peru e Bali. Maria Esther imprime essas experiências nas formas do seu corpo em movimento e apoiada no dispositivo criativo do vídeo, ambos realizam uma das primeiras produções experimentais unindo cinema e dança no Brasil. Representantes da contracultura, buscaram a construção de uma estética própria, mas muito sintonizados com aspectos presentes na arte de vanguarda do Ocidente. O trabalho situa a artista no contexto histórico e artístico da época, que mesmo à margem da produção das artes da cena, principalmente da dança, e com uma atuação teatral em um curto espaço de tempo, exerceu um papel de referência nos modos de produzir de uma geração de artistas desse período. Desse modo, a pesquisa segue os vestígios de uma figura peculiar da história da dança brasileira, a coloca em diálogo com a história da dança moderna, e também debate a questão de um corpo múltiplo de influências, culturas e costumes, que impulsionado pelo espírito libertário, articulou uma dança própria e autêntica / Abstract: The work brings to light the life and work of the artist of Brazilian dance Maria Esther Stockler. In partnership with José de Paula Agrippino ¿ author and director of the influential tropicalism - they focused their innovative scenic production from 1967 to 1970. Subsequently, the focus of her research starts beingin creasingly driven towards anthropological experiments in different places where she lived and traveled to such as Africa, Arembepe-BA in Brazil, Peru and Bali. Maria Esther prints theseexperiences into the shapes of her body in motion and supported by the creative video device, both held one of the first experimental productions combining theater and dance in Brazil. Counterculture representatives, sought to build its own aesthetic, but deeply tuned to theaspects present in the Western avant-garde art. The work puts the artist in the historical and artistic context of the time, which even at the margins of production of the arts scene, especially the dancing and a theatrical performances in short periods of time, played a role of reference in the ways of producing of a generation of artists of that period. There by, the research follows the traces of a peculiar figure in the history of the Brazilian dance, it creates a dialogue with the history of modern dance, and also debates the issue of a multiple body of influences, cultures and customs, which driven by the libertarian spirit articulated a distinctive, authentic dance / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

The Contribution to the Problems of Public Activities of the Student Movement in the United States of America in the 1960s In many aspects, the 1960s were a turning point in the history of the post-war world. Great number of political, as well as social and cultural turbulences took place during the decade, changing the world in a significant way. Social movements (which student movement was a part of - and an important one, one should add) contributed to these changes in many ways. After the "silent fifties" which almost completely lacked any form of political or social involvement of ordinary citizens, the sixties brought wave after wave of social disturbances, commotions, and even riots. First the civil rights movement, then the anti-war and student movements, tried to transform the American society into a better one. Students gathered around the issue of the Vietnam War, turning it into a cornerstone of their political agenda and even though they participated in a number of other (often more constructive) activities, these got necessarily overshadowed by the war issue. In order to gain more members, the student movement was forced to adopt more militant and violent kind of actions, which eventually estranged its members to the majority society. When we take into consideration the distorted lens of the...

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This dissertation examines how Latin American intellectuals and artists identified with the 1960s and 1970s counterculture engaged with the idea of the "Third World", and incorporated elements usually identified with Africa, Asia and Latin America to their experimental practices in writing, performance and film. Drawing from an archive of experimental films, underground publications, alternative books, independent documentaries in 16mm and Super8, festival and conference documents, personal letters, travel diaries and notebooks, this dissertation analyzes how cultures and ideas from the Third World were depicted, reimagined and experienced by important Latin American countercultural figures from Brazil and Argentina: Miguel Grinberg, Glauber Rocha and a group of filmmakers and artists that visited Afro-Brazilian religious sites alongside the U.S. American group Living Theater in the 1970s. The dissertation examines the engagement of these countercultural intellectuals with three specific transnational political projects in circulation during the Cold War – Inter-American, Tricontinental, and Afro-Asian– as instances of geographic imagination. The dissertation concludes that, in doing so, these Latin American countercultural intellectuals put forth an alternative internationalist vision for Latin America and the Third World, articulating a worldview that went beyond the political frames of the Cold War and the traditional forms of Latin American nationalism.

<p>This thesis examines how American icons, such as Jim Morrison, become the focus of "secular" religious followings. Morrison died in Paris, France, in 1971. His grave site, in Paris, attracts thousands of visitors each year. As the lead singer of 1960s era band, The Doors, Morrison achieved extraordinary fame. Tiring of his rock star status, Morrison moved to Paris in 1971, where he died under mysterious circumstances at age 27.</p> <p>After his death, Morrison remained a focus of popular biographies and films; many attributed mythic qualities to the dead singer. The continued interest in the celebrity of Morrison, following his death, generated much popularity among a new generation of fans.</p> <p>The motivation for visiting the Morrison grave, in Paris, is not only the music of Morrison or the Doors. Rather, fans gather in Paris each year to remember Morrison as cultural hero and the values he represents: freedom and rebellion against authority.</p> <p>An ethnography in Paris completed during the anniversary of his death, July 3, supplements an analysis of the subculture surrounding Morrison. A wider conclusion concerning the purpose of dead celebrity followings, in contemporary society, is a final focus.</p> / Master of Arts (MA)

By 1960, television advertisers recognized the economic potential of American youth, and producers were expected to develop programs to attract them, while still maintaining appeal for the older audience members. This task was to prove difficult as the decade wore on. While continuing to link the nation's cold war concerns to the portrayal of good and evil, some shows, like 77 Sunset Strip, and The Mod Squad, explored alternative lifestyles, but still accepted American values. As the 1960s developed, crime programs continued to promote American hegemony but became increasingly more open to alternative reading strategies. This study examines the strategies developed to draw a youth audience to 1960s crime programs, while also supporting the dominant ideology of American society.

This thesis probes how recent experimental American "crisis fictions" from authors including Mark Z. Danielewski, Kathryn Davis, and Evan Dara reformulate transatlantic Romantic literary debates about technological and environmental change. Arguing that such texts extend previously theorised ties between Romanticism and postmodernism, it identifies enduring ties between late-postmodern accounts of crisis and those of Romantic predecessors. Responding to the upheavals of digital revolution and ecological risks, these texts, published between 1995 and 2012, inventively engage several linchpin constructs in transatlantic Romantic writing: chiefly, the imagined supersession of subjective and temporal boundaries; a sense that the natural and non-human world is of crucial importance; and a reliance on idioms of sublimity to suggest the unrepresentability of the aforementioned crises. Although numerous critics have traced similarities between Romantic and postmodern modes, this thesis considers those resonances as deeper questions of cultural and literary history. It proposes to more carefully historicise the Romantic intellectual heritage in late postmodernism, identifying intermediating moments that inform contemporary accounts of crisis. It unearths how late postmodern technocultural and environmentalist imaginaries were always already Romantic. Deeply informed by countercultural, mid-century American movements and ideas that themselves drew significantly from transatlantic Romanticism, contemporary figurations of upheaval, syncretically figured in mid-century publications such as the Whole Earth Catalog, are indebted to both Romantic and neo-Romantic heritages. This thesis additionally argues that the digital revolution and unprecedented environmental crisis act as pressures on postmodern literary practices from the mid-1990s onward. Digital speeding and a looming sense of ecological risk register as even earlier crises than the terrorist attacks of "9-11", requiring a recalibration of what the postmodern might mean and do. Crucially, in their preoccupation with embodied realities and environments, including natural ones, the contemporary narratives examined here diverge from the assumption that the natural world bears little importance in postmodern fields of representation. Finally, many recent literary experiments figure themselves as materially participating in the technological and medial systems they respond to; formal experimentation is, accordingly, another centre of interest. This research examines how select texts deploy formal strategies to "materially instantiate" Romantic ideas, to borrow Katherine Hayles's term. Although numerous critics have suggested that Romantic discourse permeates digital cultural imaginaries, existing scholarship devotes little attention to how formal experimentation intersects with narrative strategies.

Au tournant des années 70, Paul Chamberland, cofondateur de la revue Parti pris, délaisse le nationalisme québécois pour épouser les idéaux de la contre-culture. Ce mémoire étudie la continuité discursive et poétique de cette conversion en surmontant la tentation de voir là un strict reniement des idéaux politiques de Chamberland. En utilisant la pragmatique littéraire, plus précisément les notions de discours constituant, d’ethos et de scénographie tels que développés par Dominique Maingueneau nous étudierons deux recueils emblématiques des positions politiques que prônait Chamberland au moment de leur rédaction, soit L’afficheur hurle et Éclats de la pierre noire d’où rejaillit ma vie. Nous les mettrons en étroit rapport avec les communautés discursives les ayant façonnés, soit celles constituées par Parti pris et la contre-culture. Nous verrons ainsi que les discours constituants éclairant les positionnements de Chamberland conditionnent son travail poétique en fonction de l’idéal humaniste du progrès humain et du dépassement de toute aliénation. Ainsi, le néonationalisme et la contre-culture, selon ce qu’ils définissent comme étant la cause de cette aliénation, conditionnent étroitement la scénographie présentée par chacun des recueils. Il sera alors possible de voir comment la démystification coloniale sur laquelle repose la rédaction de L’afficheur hurle se prolonge en se radicalisant dans le désir d’échapper à la dictature de la raison instrumentale, comme l’explore Chamberland dans Éclats de la pierre noire d’où rejaillit ma vie. / In the early 70's, Paul Chamberland, co-founder of the journal Parti pris, abandons nationalism to embrace the counterculture’s ideals. This master thesis examines the continuity of this discursive and poetic conversion by overcoming the temptation to see this as an absolute denial of the poet’s own political views. Using the literary pragmatic, more particulary the notions of constitutive discourse, of ethos and of scenography as developped by Dominique Maingueneau, we will consider two collections of poetry which captures the iconic political positions advocated by Chamberland at the time he wrote each one, namely L’afficheur hurle and Éclats de la pierre noire d’où rejaillit ma vie. We will see how the discursive positioning of Chamberland configurate his poetic work according to an humanist ideal of human progress which lies in the liberation of man from his alienation. Thus, the neonationalism and the counterculture, according to what they define each as the cause of this alienation, closely define the scenography adopted by the two books. It will then be possible to see how the colonial demystification displayed by L’afficheur hurle is continued and radicalized by the desire to escape the technocratic intrumentalization of reason, as explored by Chamberland in his Éclats de la pierre noire d’où rejaillit ma vie.

The thesis aims to explore the artistic personality of Hunter S. Thompson, one of the most distinctive cultural figures of post-war America, and his genesis as an author, journalist, and a counterculture idol of the 1960s. The era is now widely regarded as a turning point in contemporary American history as its deep-rooted values and norms were, over the course of a decade, gradually transformed by the young generation of social and political activists toward allegedly a more tolerant and liberal kind of community. Crucial in such an endeavor was the role of the countercultural movement that produced some of the most capable intellectual minds of the time, including Thompson. The paper thus analyzes the role and nature of the alternative culture in America as perceived by one of its most observant participants. Also, the thesis focuses on the author's role in establishing a new genre called New Journalism which can be linked with the era's countercultural efforts as well. In general, Thompson, in his texts, examines various phenomena surrounding the counterculture and provides us with a distinctive portrayal of the era's zeitgeist. However, unlike some of his contemporaries, he also remembers to examine numerous flaws and fallacies existing within contemporary American society, the American Dream...

Esta dissertação busca mapear as redes de artistas, intelectuais e eventos responsáveis, na década de 1970, por introduzir discussões e linguagens da arte contemporânea no eixo Sul do Brasil. Para tanto, debruça-se sobre os maiores centros urbanos da região, cujos campos artísticos estão mais bem estruturados e são mais longevos, as capitais Curitiba (PR) e Porto Alegre (RS). Por meio especialmente de pesquisa de arquivo e entrevistas, são analisadas as especificidades socioculturais e políticas que conformaram as condições para a emergência de um campo de liberdade artística e ruptura de cânones dos chamados anos de chumbo do regime ditatorial ao início do período da redemocratização. Privilegiam-se, nos estudos de caso, ações coletivas e experimentais ligadas aos conceitualismos nas artes visuais que procuraram romper com as tradições e discursos regionalistas, expandindo as fronteiras estatais , concebidas por agentes envolvidos com o pensamento contracultural em voga a partir do final dos anos 1960. / This dissertation seeks to map the networks of artists, intellectuals and events responsible, in the 1970s, for introducing discussions and languages of contemporary art in the Southern axis of Brazil. As such, it focuses on the regions largest urban centers, the capitals Curitiba (PR) and Porto Alegre (RS), whose artistic fields are better structured and longer-lived. Especially through archival research and interviews, the sociocultural and political specificities that shaped the conditions for the emergence of a field of artistic freedom, of rupture from canons, are analyzed from the so-called anos de chumbo of the dictatorial regime to the beginning of redemocratization. In the case studies, greater attention is given to collective and experimental actions linked to conceptualisms in visual arts which sought to break from regionalist traditions and discourses, expanding the state boundaries conceived by artists involved with the countercultural thinking, in vogue since the early 1960.