As formas de produção cultural contemporâneas no Brasil – como em outras partes do mundo –, junto com a consolidação das tecnologias digitais de informação e comunicação, articularam formas sociais emergentes que colocam em tensão as divisões e abrem novas interrogações sobre as fronteiras entre produção cultural, política e mercado. Esta tese é uma etnografia sobre novas formas de produção cultural. Explora algumas das práticas do movimento artístico-cultural Fora do Eixo, movimento surgido na última década que se caracteriza por sua organização através de coletivos articulados em rede e pelo uso de tecnologias digitais para o trabalho. Por meio de uma análise dos sentidos que o Fora do Eixo associa às práticas de circular e contar, bem como de suas estratégias de hackeamento e das formas de ressignificar a vida íntima, esta tese procura dar conta da importância de redefinir as abordagens analíticas para este tipo de movimento. Em última instância, este estudo tem como objetivo re-enquadrar a análise institucional da produção cultural, e os movimentos sociais e culturais, transcendendo as simplificações analíticas para entender os modos de mediação entre cultura, política e mercado que esses movimentos produzem em seus próprios termos. / Forms of contemporary cultural production in Brazil – as elsewhere in the world –, along with the consolidation of digital technologies of information and communication, have articulated emerging social forms that put strain and open new questions on the boundaries between cultural production, the political and the market. This thesis is an ethnography of novel forms of cultural production. In particular, it explores some of the practices of the artistic and cultural movement Fora do Eixo, that emerged in the last decade, which is characterized by its organization in an articulated collective network and the use of digital technologies for work. Through the analysis of some of the meanings that Fora do Eixo gives to certain actions such as circulating and counting, as well as their hacking strategies and their ways to redefine intimate life, this thesis seeks to give account of the importance of redefining the analytical approaches for this type of movements. Ultimately, this study aims at re-framing the institutional analysis of cultural production, and social and cultural movements, by transcending the analytical simplifications to understand the modes of mediation among culture, politics and the market that these movements produce in their own terms.

Trata-se de uma etnografia que visa interpretar a produção cultural da periferia paulistana, a partir do trabalho desenvolvido pela Cooperifa (Cooperação Cultural da Periferia) nos anos de 2001 e 2011. Entre outras atividades, este autodenominado movimento cultural promove saraus literários que operam como encontros comunitários e oportunizam novas opções de lazer, produção e participação político-cultural. Nesse sentido, busco apreender os discursos acerca da periferia, tanto no que se refere ao espaço social quanto à sua cultura peculiar, construído pelos protagonistas deste movimento no cenário contemporâneo. Observa-se, assim, um processo de produção cultural em que não somente os produtos e circuitos de consumo periféricos apresentam-se como soluções criativas ao mercado cultural, mas, também, coloca novamente os moradores da periferia no centro da cena pública, a partir da elaboração de uma agenda comum. / This is an ethnography that aims to interpret the cultural production of the suburbs of São Paulo, from the work done by Cooperifa (Cultural Cooperation in the Periphery) between 2001 and 2011. Among other activities, cultural movement that promotes self-styled literary soirees that operate as community meetings and nurture new leisure facilities, production and participation in political and cultural. In this sense, seeking to understand the speeches about the periphery, both in terms of social space as to its peculiar culture, built by the protagonists of this movement in a contemporary setting. There is thus a process of cultural production that not only the consumer products and peripheral circuits are presented as creative solutions to the cultural market, but also raises again the residents of the periphery in the center of the public stage, from the development of a common agenda.

Expressions culturelles en vogue parmi les jeunes adultes (25-35 ans) issus des milieux privilégiés, la haute gastronomie à base péruvienne et les fêtes de musique électronique se sont fait rapidement une place centrale dans l’offre de loisirs culturels de la ville de Lima. L’analyse de la construction sociale du prestige autour de ces activités mondialisées révèle que, bien que la valeur accordée à ces pratiques puisse être éphémère dans la mesure où il s’agit de champs culturels traversés par des effets de mode, elle est pourtant fondée sur des mécanismes de distinction sociale faisant appel à des significations profondément enracinées dans la société péruvienne. Une immersion dans ces milieux « exclusifs « et « branchés « montre que ces mécanismes, très subtiles et fortement articulés à des logiques marchandes, véhiculent des valeurs et des attitudes contribuant à la construction (ou reconstruction) de la « culture bourgeoise liménienne » / Popular cultural expressions among young adults (25-35 years old) from privileged social groups, Peruvian-based high gastronomy and electronic music parties have quickly obtained a central place in the offer of cultural leisure activities of the city of Lima. The analysis of the social construction of reputation around these globalized activities reveals that, although the value granted to these practices may be short-lived as far as it is about cultural fields crossed by fashion effects, it is nevertheless founded on mechanisms of social distinction appealing to meanings firmly implanted in the Peruvian society. An immersion in these « exclusive » and « trendy » circles demonstrates that these mechanisms, very subtle and strongly articulated with trade logics, convey values and attitudes contributing to the construction (or reconstruction) of « Lima’s bourgeois culture ».

The city of Pretoria can be likened to a blanket stretched thin, where previously urban programs shift to the expanding periphery leaving gaps in the city fabric. It is essential to investigate ways in which these urban “left overs” can be re-imagined within the contemporary context. This complex urban condition is investigated with the focus on conservation of abandoned buildings of heritage significance. In South Africa, state funding cannot be relied upon for conservation of individual buildings. Thus the conservation of leftover and abandoned heritage buildings should happen not through singular museum projects but through the everyday usefulness of the building. The role of art and the artist has long been linked to the reuse of buildings which have become difficult to inhabit in conventional ways. Thus the introduction of cultural programs to derelict heritage sites and “left over” spaces is pertinent to their reuse. One such site is the Capitol theatre in the Pretoria CBD. It is undoubtedly a place of cultural richness and expression, having been a place of daily gathering as well as formal entertainment throughout its history. It is a natural point in which to reintroduce culture into an extended public realm at the heart of the city. Originally a space of introverted and exclusive cultural expression, curated cultural artifacts (films and occasional shows) were displayed to a limited audience in a highly internalised experience. However, it is proposed that this condition be inverted through external display of the processes of cultural production on the exterior of the theatre. The intention is to broaden the sphere of cultural influence into the public realm of the city and simultaneously invite the existing communities to engage with the building. Thus the focus shifts from internal event space to external production space which becomes part of the public everyday experience. Reviving the Capitol The Capitol Theatre complex was never completed and no exterior facade was ever design for the auditorium. This creates the opportunity for a new inhabitable facade to be designed which fulfills the role of both a supportive and expressive element. The new element incorporates spaces where people and processes of cultural production are expressed externally while curated cultural artifacts and events remain housed in the auditorium. Ultimately the concept is one of support. The physical support of a failing structure being the starting point which necessitates an intervention; the functional support which allows the building to become useful again in a contemporary context with new cultural meaning; and the social support of the everyday rituals which make up the daily cultural experiences through the extension of the sphere of cultural influence of the Capitol Theatre. / Dissertation MArch(Prof)--University of Pretoria, 2014 / Architecture / MArch(Prof) / Unrestricted

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This thesis looks at the court of Anjou-Provence’s book production, under the guidance of King René d’Anjou, during the decades of the 1440’s and ‘50s. It examines four literary works of which three were authored by the prince, namely, "Le Livre des tournois," "Le Mortifiement de vaine plaisance" and "Le Livre du Cœur d’amour épris," and an anonymous translation into French of Boccaccio’s "Teseida delle Nozze d’Emilia", entitled "Le Livre de Thezeo." In this thesis, I argue that these four works, although they emerge as separate events, connect ideologically and iconographically, highlighting a set of ideas that redefines nobility for the French Early Renaissance. Applying a complex combination of approaches, my theoretical framework combines translation, emotions and worldmaking theories. My model reveals King René’s vision of gendered roles and his refined sense of true nobility that make his court’s cultural identity stand out among that of comparable French courts of the day. It also outlines René’s close working relationship with his illustrator Barthélemy d’Eyck. The structure based on the four case studies outlines aspects of the debates on love and courtly culture that developed at René’s court. Chapter One discusses the distinctiveness of the Angevin-Provençal court’s reception of Italian and antique cultures and its importance as a continuum from the Latin translations in the Parisian humanist circles in the 1400s. Chapter Two examines "La Théséïde," the only fully illustrated manuscript of the translation into French of Boccaccio’s "Teseida delle Nozze d’Emilia," analysing the central focus on Emilia as the “Dame Amaczon.” Pursuing the work’s re-envisioning of gendered roles through emotional communities, Chapter Three explores the transformation of two warriors into “nobles chevaliers” in anticipation of René’s standardisation of noble knightly values in his "Livre des tournois." In view of the prince’s age when he started his literary career, Chapter Four questions the role that religion played in his vision of masculinity and unveils the portrait of the contemplative knight in René’s "Mortifiement de vaine plaisance." The heart-centred narrative connects with the quest of the secular heart in his "Livre du Cœur d’amour épris" in Chapter Five. It reveals the knight Cuer’s re-envisioned quest through imaginary lands and its unexpected conclusion as King René’s notion of true nobility refined by spiritual love, for men and women of the Early Renaissance. In the conclusion, the cross-study of these four books highlights their symbiotic working dynamic, and the talent of Barthélemy d’Eyck, that brought together the impressive Angevin-Provençal cultural production emerging within King René’s close circles, on the eve of the French Renaissance. / Graduate

This Thesis explores artistic activism or artivism in the context of youth in post- revolution Tunisia. During and after the Arab Uprisings, the MENA region has experienced a tendency, wherein resistance is undertaken by artivists through in situ art interventions, music, and performances that create ‘new cultural spaces’, in which cultural hybridism through the mix of urban youth subculture, communication and traditional culture, creates new contexts of authenticity. It further investigates how art and activism is used in Tunis as a tool to mirror, provoke or communicate messages that directly or indirectly deal with post-revolution themes, and which mechanisms exist in limitations of artistic freedom of expression.It utilizes concepts of cultural resistance through theorists Stephen Duncombe and discusses the concept artivism as a hybrid term, through Aldo Milohnic. It then delineates subculture, authenticity and hybridization through various theorists and examines Artistic Freedom of Expression through the standpoint of international conventions and reports. The Thesis also analyzes artistic activism, commodification and globalization through a re-contextualization of Theodor Adorno and Walter Benjamin.Guiding this analysis are interrelated points of redefining Arab youth subcultures, through interviews conducted with five young Tunisian artists who combine artistic expression with political commentary and activism. I argue that a new dynamic discourse is shaped in the MENA region through the re-mixing of a cultural narrative which becomes re-contextualized locally, and therefore becomes authentic in a ‘glocal’ context. The Thesis offers analytical contribution to the field of cultural production in a Tunisian political context and adds to the research field of artistic activism.

This dissertation is about Norwegian school journeys to former death and concentration camps in Poland and Germany. The thesis follows a 10th grade class from the preparations for such a journey, on the journey itself and finally during the reflective work of the pupils upon returning to school. The journey is viewed as a memory process and the thesis discusses how the collective memory of Holocaust is constituted and how the Holocaust memory is staged and performed by the pupils. This kind of travel praxis balances among the inner processes of acknowledgement connected to the pilgrimage, the hedonism of tourism and the school journey’s play with the limits of the teacher’s tolerance. How the pupils handle the tension among these three forms of travelling genres is ritually scripted. Also, the way the pupils express their impressions of the journey is strictly ritually scripted. The journey is thus a monological organised memory praxis which makes it difficult for the pupils to express themselves in ways other than the scripted ones. / Denne avhandlingen handler om norske skoleturer til tidligere døds- og konsentrasjonsleirer i Polen og Tyskland. Avhandlingen følger en tiendeklasse fra Oslo gjennom forberedelsene til reisen, underveis på turen og i bearbeidelsen av inntrykkene etter at elevene har kommet hjem. Reisene studeres i et erindringsperspektiv med fokus på hvordan erindringen om annen verdenskrigs konsentrasjonsleirsystem konstitueres, fortelles og iscenesettes. Konkret undersøker avhandlingen hvordan konsentrasjonsleirene og Holocaust presenteres for elevene, hvordan elevene selv italesetter sin fortidsfortolkning og hvordan holocausterindring iscenesettes gjennom en slik reise. Denne formen for reisepraksis balanserer mellom pilegrimsreisens indre erkjennelsesprosess, turistreisens hedonisme og skoleturens lek med grensene for lærerens toleranse. Hvordan elevene skal manøvrere seg innenfor spenningsfeltet mellom disse tre formene for reisegenre er i stor grad styrt av et rituelt script. Det samme kan sies om elevenes ytringsmuligheter i etterkant av turen. Reisen kan derfor sies å være en form for monologisk organisert erindringspraksis som gir elevene få muligheter til å uttrykke seg på andre måter enn de rituelt foreskrevne.

O objetivo desta tese é basicamente problematizar quatro questões: quais são os sentidos e os significados que estão em jogo para o termo periferia; qual é a influência da atuação dos coletivos artísticos da periferia na formulação de um novo significado para o termo periferia; por que houve uma explosão de atividades culturais na periferia nos últimos vinte anos e; qual o caráter e o alcance da ação política desses coletivos artísticos. Para tanto, o texto parte do contexto social da década de 1990, quando as periferias de São Paulo sofriam os desdobramentos do neoliberalismo e um alto índice de homicídios. Logo, o texto aponta algumas mudanças ocorridas nas últimas duas décadas nessas periferias. Algumas delas são o aumento do número de coletivos artísticos nesses bairros, tema principal desta tese; o crescimento evangélico e a presença do PCC. Também se discorre sobre o aumento da atuação de ONGs e do poder público nas periferias. Por fim, o texto conceitua a obra do grupo de rap Racionais MC´s como sendo a narrativa legitimada por essa população para contar sua história e discorre sobre uma nova subjetividade surgida na periferia e centrada no orgulho dessa condição. O indivíduo que passa a agir politicamente a partir desse orgulho é denominado neste trabalho como sujeito periférico. O texto discorre também sobre como três campos discursivos obtiveram a preponderância para definir o que seja periferia em distintos tempos históricos. Estes campos discursivos são: o discurso acadêmico, os coletivos artísticos da periferia e a indústria do entretenimento. Logo, realiza uma aprofundada análise histórica, social e política da obra dos Racionais MC´s tentando entender por que o discurso enunciado por esse grupo causou tanto impacto nas periferias e criou uma nova forma de entendimento sobre o que seja periferia para o todo da sociedade, além de influenciar a própria auto-imagem que os moradores da periferia passaram a possuir de si mesmos. Entrelaçado a esse fenômeno, o texto discute como nos últimos vinte anos houve um alargamento do significado do termo periferia, que já não passa a ser definido somente pelo binômio pobreza e violência, mas também pelos elementos cultura e potência. No entanto, esta potencialidade da população periférica pode ser utilizada para sua afirmação política ou para fins mercadológicos, expressos em uma certa celebração dos pobres visualizada na atualidade que por um lado esvazia o caráter crítico do termo periferia e por outro celebra a denominada Classe C. Por fim, esta tese apresenta os resultados de pesquisas etnográficas realizadas em coletivos artísticos da periferia de São Paulo discutindo como estes coletivos influenciaram na ressemantização do termo periferia. Também se problematiza neste trabalho o labor estético e fundamentalmente político desses coletivos, em um contexto de crise das formas clássicas de mobilização política. / The aim of this thesis is basically to discuss four issues: what are the senses and the meanings that are at stake for the term periphery; what is the influence of the periphery artistic collective action in formulating a new meaning to the term periphery; why has there been an explosion of cultural activities in the periphery in the last twenty years; which is the character and scope of the political action of such artistic collectives. Therefore, the text starts off from the social context of the 1990s, when the periphery of São Paulo suffered the consequences of neoliberalism and a high murder rate. Soon, the text indicates some changes which have happened within the last two decades in these peripheries. Some of those are the increasing number of cultural collectives in these neighborhoods, the main theme of this thesis; the evangelical growth and the presence of the PCC. It also discusses the increased presence of NGOs and public authorities in the periphery. Finally, the text defines the work of the rap group Racionais MC\'s as the narrative legitimized by this population to tell their story and discusses a new subjectivity emerged in the periphery and centered on the pride of such condition. The individual who starts to act politically from that pride is termed here as a peripheral subject (sujeito periférico). The text also discusses how three discursive fields obtained the preponderance to define what periphery is in different historical times. These discursive fields: the academic discourse, the artistic collectives of the periphery and the entertainment industry. Therefore, it conducts a thorough historical, social and political analysis of the work of the Racionais MC\'s trying to understand why the discourse produced by this group has caused such an impact on the peripheries and has created a new way of understanding what periphery is to the whole of society, while influencing the very self-image that periphery dwellers have of themselves. Intertwined with this phenomenon, the paper discusses how, in the past twenty years, there has been a modification to the term periphery, which no longer comes to be defined only by the binomial poverty and violence, but also by the elements culture and potential. However, this potential of the peripheral population may either be used for their political statement or for marketing purposes, expressed in a certain celebration of the poor which is currently observed and which on the one side empties the critical nature of the term periphery and on the other side celebrates the so-called \"Class C\". Finally, this thesis presents the results of an ethnographic research conducted with artistic collectives in the periphery of São Paulo by discussing how these collectives influenced in the resemantization of the term periphery. In addition, this paper discusses the fundamentally political and aesthetic work of these collectives in the context of a crisis of the classical forms of political mobilization.

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.