Este trabalho registra criticamente a experiência de implantação e coordenação do Projeto Teatro Vocacional do Departamento de Teatro da Secretaria Municipal de Cultura de São Paulo, entre os anos de 2001 e 2004. Para tanto, analisa alguns princípios de ação, abordando pressupostos teóricos e práticos. Orienta esta análise a avaliação dos fatores envolvidos na efetivação da proposta artístico-pedagógica do Projeto, principalmente no que concerne ao processo de apropriação pelos artistas vocacionados dos meios de produção estética - através da articulação do discurso cênico-, a partir de uma pedagogia emancipatória e visando a ocupação do espaço público. Nossa principal suposição é de que estes objetivos podem ser alcançados através do entendimento de uma atitude épica/dialética em relação à matéria cênica. / This paper critically records the experiment of implanting and coordinating the Projeto Teatro Vocacional do Departamento de Teatro da Secretaria Municipal de Cultura de São Paulo from 2001 to 2004. For that, it analyses action principles approaching theoretical and practical assumptions. This analysis is guided by the assessment of factors involved in the effectiveness of the projects artistic and pedagogical proposal, mainly in that it regards the process to be held by the called artists in the aesthetic production field through the articulation of a scenic speech from an emancipating pedagogy and aiming the occupation of the public space. It is strongly believed that these goals can be achieved through the understanding of an epic and dialectic attitude concerning the scenic topic.

Este trabalho registra criticamente a experiência de implantação e coordenação do Projeto Teatro Vocacional do Departamento de Teatro da Secretaria Municipal de Cultura de São Paulo, entre os anos de 2001 e 2004. Para tanto, analisa alguns princípios de ação, abordando pressupostos teóricos e práticos. Orienta esta análise a avaliação dos fatores envolvidos na efetivação da proposta artístico-pedagógica do Projeto, principalmente no que concerne ao processo de apropriação pelos artistas vocacionados dos meios de produção estética - através da articulação do discurso cênico-, a partir de uma pedagogia emancipatória e visando a ocupação do espaço público. Nossa principal suposição é de que estes objetivos podem ser alcançados através do entendimento de uma atitude épica/dialética em relação à matéria cênica. / This paper critically records the experiment of implanting and coordinating the Projeto Teatro Vocacional do Departamento de Teatro da Secretaria Municipal de Cultura de São Paulo from 2001 to 2004. For that, it analyses action principles approaching theoretical and practical assumptions. This analysis is guided by the assessment of factors involved in the effectiveness of the projects artistic and pedagogical proposal, mainly in that it regards the process to be held by the called artists in the aesthetic production field through the articulation of a scenic speech from an emancipating pedagogy and aiming the occupation of the public space. It is strongly believed that these goals can be achieved through the understanding of an epic and dialectic attitude concerning the scenic topic.

O reconhecimento político da comunidade do Campinho da Independência é enunciado nos interstícios das situações cotidianas, podendo adquirir uma diversidade de significados, dependendo do lugar daquele que fala. Apresento o ritual da experiência turística como um lócus de enunciação privilegiado para pensar a relação entre os sujeitos que, envolvidos com o problema da construção da diferença cultural, produzem novas categorizações sobre a cultura e a identidade social do grupo. Esse ritual é entendido como uma metáfora da representação da mediação e da conversão de significados que atualmente se observa no Campinho, diante das transformações sócio-históricas em que a comunidade se vê envolvida. / The political recognition of the community of Campinho da Independência is enunciated in the interstices of the everyday situations, possibly acquiring a diversity of meanings, depending on the place of the speaker. I present the ritual of the touristic experience as a privileged locus of enunciation to think the relation between the subjects that, involved with the problem of construction of the cultural difference, produce new categorizations about the culture and the social identity of the group. This ritual is understood as a metaphor of the representation of the mediation and of the conversion of meanings that are currently observed in Campinho, in face of the social-historical transformations in which the community is involved.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-12T17:49:54Z No. of bitstreams: 1 Marilia Gabriela Gonçalves.pdf: 1516938 bytes, checksum: 77cd5942f198cd482b3d8a97b1a2d606 (MD5) / Made available in DSpace on 2017-01-12T17:49:54Z (GMT). No. of bitstreams: 1 Marilia Gabriela Gonçalves.pdf: 1516938 bytes, checksum: 77cd5942f198cd482b3d8a97b1a2d606 (MD5) Previous issue date: 2016-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This doctoral dissertation’s aim is to reflect upon the action of neo-liberal emerging power devices and how they influence means of communication and the production of culture in Brazil. Departing from the theory of “media body”, which analyses relations between the body and the environment, we try and clarify how cultural production and artistic creation processes are not apart from their political and economical choices. We also quote other authors such as Giorgio Agamben, Michel Foucault and Pascal Gielen, who help us identifying the main problems. The empirical object of our research are exemplifications of projects, events and works made possible through different ways: institutions (Itaú Cultural, Sesc, etc.), with no institutional support, with Estate support or not, in big cities and in our country inlands. Our thesis propounds a redefinition of the producer by thinking of him as a propeller of movements and sharing amongst artists, places and audience. This research result is a mapping of experiences that point out questioning and possible ways out for some ethical impasses which we have faced, mainly in the last twenty years / O objetivo desta tese é refletir sobre a ação de dispositivos de poder que emergem do sistema neoliberal e impactam os modos de comunicar e produzir cultura no Brasil. Partimos da teoria corpomídia que analisa as relações entre corpo e ambiente, esclarecendo como a produção cultural e os processos de criação artística não são apartados de suas escolhas político-econômicas. Pontualmente são citados outros autores como Giorgio Agamben, Michel Foucault e Pascal Gielen, que auxiliam a identificar os principais problemas. O objeto empírico da pesquisa são exemplificações de projetos, eventos e obras viabilizados de formas diversas: em instituições (Itaú Cultural, Sesc etc.), sem apoio institucional, com financiamento público ou não, em grandes cidades e no interior do país. A tese propõe uma redefinição do produtor ao pensá-lo como um instaurador de movimentos e compartilhamentos entre artistas, lugares e público. O resultado da pesquisa é um mapeamento de experiências que apontam questionamentos e saídas possíveis para alguns impasses éticos com os quais nos deparamos, especialmente nos últimos vinte anos

This dissertation offers a historical and cultural analysis of the highly controversial Japanomania (ha-ri) phenomenon in East Asia with a special focus on post-authoritarian Taiwan. Despite its colonial relations with Japan and its relatively small population of twenty-three million, Taiwan has become the largest market for Japanese trendy dramas outside Japan in the late 1990s and early 2000s. Attracted by these Japanese idol dramas, pop music and fashion, many Taiwanese youths became loyal to anything Japanese. The Japanomania phenomenon in Taiwan aroused stringent public condemnation for being detrimental to national pride and was commonly regarded as a social pathology. I offer my intervention into this debate by arguing that Japanomania consumption has little to do with nostalgia towards Japanese colonization. Rather, Japanomania is best understood as a response to the particular, lived conditions of the generation of Taiwanese who came of age in the 1990s. Given the prevalence of Japanomania among this generation, and given the fact that this was the same generation of young voters who were key to the election of the first opposition party President in 2000, it is remarkable that the connections between these two significant youth movements have been overlooked in existing scholarship. Based on my research and on my own lived experience and participation in both of these movements, I argue that Japanomania discourse in fact played a crucial role in Taiwan's democratization and nation-building in the 1990s. To de-mystify the intensive consumption of Japanese popular culture in Taiwan, I critically analyze interviews, online Bulletin Board Systems (BBS), historical archives, Japanese TV dramas, and political campaign materials. Such mediated forms give us access to the fluid and mobile field of subject formation in a transitional society. I conclude that transnational culture serves as a medium for Taiwanese politics, and for the current fourth generation in particular. In addition, I suggest that transcultural consumption has political potential not only in Taiwan but also in other contexts such as the United States, Latin America, Europe, and Southeast Asia. This dissertation tackles some of the most fundamental questions in communication studies: the influence of media on politics and the role that people play in making meaning in the context of democratization and globalization. By creating a dialog between this East Asian cultural phenomenon and Western critical theories of culture and globalization, my research also contributes to the development of a multilevel and multicultural approach to discourse, audience studies and globalization studies.

Racialization, Representation, and Resistance: Black Visual Artists and the Production of Alterity queries the relationship between Black visual representation and Black social and cultural politics. For the past two centuries Black visual artists throughout the African Diaspora have painted, sculpted, and filmed images of blackness inspired, funded, and otherwise supported by progressive patrons and institutions. Largely produced outside of mainstream art worlds, these visual representations focused on Black social and cultural politics and Black alterity more than mainstream tastes or stereotypes. As the coherence of Black social and political movements and resources declined in the late twentieth century, however, commercialization and the mainstream art world had increasing influence on Black visual culture. These changes created intense resistance and debate about the politics of visual representation throughout the Black Atlantic, particularly in the United States, Cuba, and the United Kingdom. Ethnographic observations, interviews, and gallery talks with artists in these three nations, including John Yancey, Vicky Meek, Marcus Akinlana, Kara Walker, Michael Ray Charles, Gloria Rolando, Anissa Cockings, and Andrew Sinclair, along with cultural and historical comparisons, provide fresh insight into the relationship between Black visual representation and contemporary Black social and cultural politics. / text

Skopje 2014: Governmental Role in the Spatial Politics of Collective Memory In my research the key interest is to understand how the government uses public spaces in order to supply the continuity of the narratives and how it maintains collective memories. In the matter of the public interpretations of the past, I am especially interested in the effects it has upon the collective memories of the citizens, notably to the generations, who have experienced the city. Above all, I examine the work of artists and architects who are using styles and symbols that affect the memories by ambivalent imitations and interpretations. Such content is seen within the framework of a multi- ethnical state presented by polarized public with polarized relations between the two major ethnicities of Macedonians and Albanians. I will try to examine the level of manipulation while demonstrating history in public space, creating false correlations of the past. Such phenomenon has been perceived as a one of having negative influence at present. It is taken as a possible change within the process of identification of future generations. I organized the research in two parts. In the first one I give a synchronic presentation of delivered criticism and comments on the project"Skopje 2014". In the second part, having a...

This dissertation addresses what it means to be a Muslim and an American and the challenges that some ethnically different American Muslims face in constructing American Islamic social identities. While practitioners of Islam profess anti-racist ideologies, the American Muslim community has a complex underlying hierarchy with sharp divisions between African-American Muslims, Euro-American Muslims, and various immigrant Muslim communities. In addition, the tendency to favor traditionalist interpretations of Islam, and the reduction of Arab experience as the primary way to experience Islam are conflicts internal to the Muslim community as well. This has created a division in the Muslim community between traditionalist and modernist approaches to Islam. The result of these hierarchies is that certain ethnic groups and religious sects are delegitimized by more powerful ethnic groups and sectarian communities, and separatist ideologies about Islam result. The goal of this research is to examine how American Muslims negotiate their identity both in the public sphere and within the Muslim community from which many often feel a sense of separation. In addition, I will review historic and current social strategies used by different ethnic constituents of American Muslims to define themselves as a unique and authentic sector of Islam. I begin by discussing the interrelations between Muslim groups in St. Louis then explore how stereotyping by both local and national media have contributed to divisions between ethnically and racially different groups of Muslims. I also explore the use of social media as a means of building community alliances and found that Caucasian Muslim converts were most active with other Caucasian and immigrant Muslims, which I later argue is part of an assimilation process that many Caucasian converts experience as part of the conversion process. I argue that this is very different than the experience of African American Muslims, most of whom do not change their culture as a result of religious conversion. I also investigate how sectarian differences impact racial segregation within Islam in an American context. I conclude that immigrant Muslims use alliances with Caucasian Muslims to boost their social standing, taking advantage of the effects of white privilege. The result is that the racial hierarchy responsible for creating white privilege is mirrored within a religious community that staunchly advocates for color-blind, non-discriminatory inclusion resulting in racial disempowerment, segregation, disenfranchisement, and black inferiority among American Muslims.

Taiwan’s pop music is enormously popular in China. This study aims to probe the reasons for this success as it has taken place against a backdrop of hostile political relations between the Taiwanese and the Chinese. The study explores the ways in which Chinese people and the Chinese media have negotiated and practised the work of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on the cultural-political struggles of Taiwan’s pop in China, its mediation, and consumption as a cultural practice. The study suggests that deliberative mediation and a sociable mediation are able to coexist through the process of music consumption. The study has used a variety of research methods, including semi-structured interviews of Chinese audience-members; documentary, media and historical analysis; desk research; and a six-month period of observation in Beijing. It examines the experiences of 26 Chinese audience members living in Beijing or Taiwan who are fans of the ‘Little Freshness’ style of music. Four important media texts are discussed: 1) Chinese Central Television’s (CCTV’s) New Year’s Gala (1984–2014); 2) the magazine People’s Music(1980–2007); 3) Li Wan’s book, How Much Time has Gone By, the Forgotten Sorrow: Sixty years of Songs Across Three Places: China’s Mainland, Hong Kong and Taiwan (2012); 4) Zhang Lixian’s edited volume, Archaisms: Luo Dayou (2000). Using the concept of mediation, the study highlights the significance of a ‘structure of feeling’ (Williams, 1961) to identify how the ‘multi-mediated’ process of consumption of Taiwan’s pop is made up of emotion, conflict and negotiation from the interplay of relations between Taiwan and China. This has emerged as a combination of musical mediation and political mediation, a combination which, in turn, moved from the cultural consumption of Taiwan’s pop towards the practice of the political. The study reflects on related approaches to see their limits and problems when applied to the study of Taiwan and China, and proposes that music consumption requires the engagement of the biographies of both the audience-members and the musical work in order to ‘activate’ the social use of music. It draws on Williams’s concept of common culture as well as Mouffe’s idea of agonistic pluralism to suggest that participation in, and interpretation of, Taiwan’s pop may further propel both Taiwan and China towards commonly held, yet contested, cultures - in other words, that their citizens may come to possess plural cultural citizenships.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present work makes an analysis about the public politics of the state of Sergipe in the area of fomentation to the culture in the last three decades. These they are returns mainly for the accomplishment of large-scale events, in the which local artists are presented and of others states of the country. Our study this directed toward the actions of the State of the Secretary of State of the Culture, the Cultural Foundation of Aracaju FUNCAJU and the private foundations of culture that also develop a work of support to the production of the sergipanos artists. We do also make an analysis of the trajectory of the events carried out by the public initiative as the Festival of Art of Saint Cristóvão and the Cultural Meeting of Laranjeiras, of like these had arrived in those communities and which the main changes that happened in their format. To understand the organizational structure of these two events we make a comparative analysis with the Pre-Caju, event that is promoted by the private initiative in partnership with agencies of the State and the City of Aracaju. / O presente trabalho faz uma análise sobre as políticas públicas do estado de Sergipe na área de fomento à cultura nas últimas três décadas. Estas estão voltas principalmente para a realização de eventos de grande porte, nos quais se apresentam artistas locais e de outros estados do país. Nosso estudo esta voltado para as ações da Secretaria de Estado da Cultura, a Fundação Cultural de Aracaju FUNCAJU e as fundações particulares de cultura que também desenvolvem um trabalho de apoio à produção dos artistas sergipanos. Fazemos também uma análise da trajetória dos eventos realizados pela iniciativa pública como o Festival de Arte de São Cristóvão e o Encontro Cultural de Laranjeiras, de como estes aportaram nessas comunidades e quais as principais mudanças que aconteceram no seu formato. Para entender a estrutura organizacional destes dois eventos fazemos uma análise comparativa com o Pré-Caju, evento que é promovido pela iniciativa privada em parceria com órgãos do Estado e do Município de Aracaju.