Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this research seek to conduct a study on the performance of the Coletivo Fora do Eixo as a social organization developed by young people, whose main causes culture. The aim is to describe the performance in the Coletivo Fora do Eixo network from the study of social actors that make up the group and how they build and execute actions based on the production, circulation and cultural consumption in the context of politics and economics. In this context, I analyze, from the direct observation, the interviews and analysis of applications, websites and social networks, which are the discursive strategies present in the brazilian contemporary debate about culture, give meaning to the political articulations collaboratively and as the Coletivo Fora do Eixo develops creative strategies for generation of the economy. I still intend to verify the importance of technology, based on collective intelligence, as networked information access tool. And in this way, meet the collective processes and motivating young people from different social and cultural proposals, to articulate and organize network collaboratively. / Na presente pesquisa busco realizar um estudo sobre a atuação do Coletivo Fora do Eixo como organização social desenvolvida por jovens, que tem como causa principal a cultura. O objetivo é descrever a atuação em rede do Coletivo Fora do Eixo a partir do estudo dos atores sociais que compõe o grupo e como eles constroem e executam as ações pautadas na produção, circulação e consumo cultural no âmbito da política e da economia. Dentro deste contexto, procuro analisar, a partir da observação direta, das entrevistas realizadas e da análise dos aplicativos, sites e redes sociais, quais são as estratégias discursivas presentes no debate contemporâneo brasileiro sobre a cultura, como dão sentido as articulações políticas de forma colaborativa e como o Coletivo desenvolve estratégias criativas para geração da própria economia. Pretendo ainda verificar a importância da tecnologia, baseada na inteligência coletiva, como ferramenta de acesso à informação em rede. E, desta forma, conhecer os processos coletivos e o que motivam jovens, de diferentes propostas sociais e culturais, a se articularem e se organizarem em rede de forma colaborativa.

Through the perspectives of cultural studies and studies of musical styles, identities, youth and cultural consumption, the present work aims to study a music festival called "Festival de Música Independente Rock Sertão", held in "Nossa Senhora da Glória" town, situated hinterland of Sergipe, 79 miles away from the capital. Organized by a young local group of cultural producers, had in 2012 its tenth edition. The objective is to analyze the production and consumption of a rock festival held in the hinterlands of Sergipe and organized by the local youth. I will demonstrate how this festival is programmed and how the rock is used by producers and consumers as a style marker. Seeking raise questions about the cultural production of a rock festival that takes place in region that spreads "forró" and "axé" as ideal music style. These styles are very different from rock and festival´s main theme. / Através das perspectivas dos Estudos Culturais e dos estudos sobre estilos musicais, identidades, juventudes e consumo cultural, o presente trabalho tem como objeto de estudo um festival de música intitulado Festival de Música Independente Rock Sertão, realizado no município de Nossa Senhora da Glória, a 126 km da capital Aracaju. Organizado por um grupo local de jovens produtores culturais, teve no ano de 2012 a sua 10ª edição. O objetivo do trabalho é analisar a produção e o consumo de um festival de rock realizado no sertão sergipano. Desse modo, tratarei de demonstrar de que maneira é programado esse festival e como o rock é usado pelos produtores e consumidores como demarcador de um estilo de vida. Procuro suscitar questões acerca de seu décimo ano num contexto contraditório de difusão de um ideal típico de gosto musical associado aos estilos forró e axé.

Trata-se do novo cenário da produção e difusão de vídeo popular, tendo em vista o contexto das transformações na cultura brasileira, com foco nas ações e realizações da Associação Brasileira de Vídeo Popular - ABVP dos anos 1980 e do Coletivo de Vídeo Popular de São Paulo dos anos 2000, levando em consideração rupturas e continuidades nas formas organizativas dessa produção. Para tanto, olhamos para o passado recente da cultura brasileira para entender as influências e o lugar atual da produção cultural na realização de vídeo popular. Dois eixos básicos são apresentados para explorar a relação entre contexto social, produção cultural e vídeo popular. Na primeira vertente, analisa-se os mecanismos de produção dos realizadores ligados à ABVP, próxima aos movimentos sociais e populares da época, traçando como se comporta esse grupo de produtores, a partir da análise do vídeo Há lugar, de 1987. A segunda vertente, mais atual, insere os vídeos no contexto mais amplo da produção cultural, delineando as determinantes sociais e culturais de seu mecanismo de produção. Percebe-se hoje que o audiovisual não está restrito ao dito cinema de mercado e à indústria cultural, mas que se desenha também como instrumento no interior de ações culturais e sociais. Neste contexto vamos analisar o vídeo Qual Centro?, de 2010. Pretende-se investigar, através do apontamento histórico das mudanças institucionais e legais ocorridas no âmbito federal, estadual e municipal no que tange à política cultural para o audiovisual e para a \"diversidade\", alguns pontos da relação entre a produção cultural, as mudanças na concepção de cultura e de Estado, as mudanças na situação político-econômica e a produção de vídeo popular do passado e do presente / This research focus on the new stage of popular video production and broadcasting, given the context of changes in Brazilian culture, approaching the actions and achievements of the Brazilian Association of Popular Video - ABVP (1980s) and Popular Video Collective of São Paulo (2000s), taking into account ruptures and continuities in the organizational forms of this production. To this end, we look at the recent past of Brazilian culture to understand the influences and the current place of cultural production in the realization of popular video. Two basic axes are presented to explore the relationship between social, cultural production and popular video. In the first part, we analyze the mechanisms of production of the videomakers linked to ABVP, closed to the social and popular movements of the time, tracing how this group of producers behaves, starting from the analysis of the video Há Lugar (There is Place), 1987. The second part understand videos in the broader context of cultural production, outlining the social and cultural determinants of their production mechanism. We can see today that the audiovisual is not restricted to that market and the cultural industry of cinema, but also as a tool inside of cultural and social activities. In this context we analyze the video Qual Centro? (Which Center?), 2010. We intend to investigate, through the institutional and legal changes in federal, state and municipal levels, with regard to cultural policy to the audiovisual and \"diversity\", some points of the relationship between cultural production, changes in the conception of culture and state, changes in the political and economic situation, and popular video production, past and present

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-15T12:45:17Z No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T15:45:44Z (GMT) No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5) / Made available in DSpace on 2018-05-22T15:45:44Z (GMT). No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5) Previous issue date: 2017-08-31 / Esta pesquisa tem como objeto a produção cultural no Brasil Contemporâneo (anos 90 aos dias atuais) e, dentro desta, mais especificamente, o nicho da chamada “música independente”, analisada a partir (mas não só) de estudo empírico da rede “Circuito Fora do Eixo”, a qual, como objeto, ultrapassa o âmbito da produção cultural e dos circuitos alternativos de arte e cultura. Os objetivos são observar a atividade de produção cultural em sua generalidade no mundo contemporâneo, o quanto esta é moldada por ingerências estruturais e conjunturais tanto econômicas quanto políticas, além de culturais; descrever sucintamente parte da história recente e analisar o nicho da “música independente” dentro deste quadro; analisar o caso da rede “Circuito Fora do Eixo”, sua formação em meio e sob a ingerência destes diferentes processos, sua especificidade como, além de circuito cultural, movimento social, e seu desenvolvimento ao longo dos anos, demonstrando a sua pertinência heurística para o objeto mais amplo em questão, assim como o seu transbordamento em relação ao mesmo. Tudo isso para discutir alguns possíveis sentidos subjetivos da atividade de produção cultural para o produtor cultural. / The object of this research is the category of “cultural production” in contemporary Brazil (from the nineties till now) and, inside if this, more speciphically, the nicho of the so called “independente music”, analysed from (but not only) the case study of the network “Circuito Fora do Eixo”, whom, as object, goes beyond the spectrum of the “cultural production” and the alternative circuits of art and culture. The goals are to observe in general matter the activity of “cultural production” in the contemporary world, how much this activity is shaped by structural e conjunctural injanctions, political e economical, besides cultural; to describe briefilly parto f the recente history a analyse the nicho of the “independente music” from the stanpoint of this framework; analyse the case of the network “Circuito Fora do Eixo”, its foundatitons in teh midle of and from the injanctions of this diferente processes, his specifity as, beyond a cultural circuit, a social movement, and his development through the years, showing his heuristic pertinance to the broadly object in question, and how it overwelmed it. All this to discuss some contemporary possible subjective meanings of the activity of cultural production to the cultural producer.

Dissertation Abstract Paper Agora: The Samizdat Periodical Vokno and the Provincial Czech Underground in Historical and Social Perspective Martin Tharp, Department of Historical Sociology. The present work takes as its central subject a Czech samizdat publication, the magazine Vokno, primarily during its years of illegal operation, i.e. from 1979 until 1990, considered within the wider context of civil and cultural resistance to the oppressive social order of European state socialism. It treats Vokno as an instance of social action amid state forces inimical towards it, discussing the interplay and interaction of oppositional practice and the forces it opposes, both of state authority and more subtle ones of state cultural hegemony. It is argued that Vokno formed an attempt at a "counterculture" in the late 20th-century sense of an impulsive critique of a regimented modernity, yet within its immediate conditions was necessitated to assume three specific forms: as an aesthetic sub/counterculture, as a social network with differing levels of involvement and connections (whether to established intellectual dissent or to other social strata), and finally as a conscious oppositional social movement.

No description available.

This thesis is the first qualitative study of parental involvement in education regarding students in one key township high school in an undeveloped small town in southern China. This thesis aims to examine parental expectations and strategies in the voices of parents. To achieve this goal, this thesis examines the social class of the interviewed parents while considering place. It explores the distinctions in the shared thoughts embodied in life stories as parents perceive or articulate their identities and interests with the parents’ lived experiences, particularly with schooling, occupational careers, and their place identities in cities, towns, and villages. Using concepts of cultural production and penetration, defined by Paul Willis, “penetration” pertains to parents’ insights into the use of education in reflection of parents’ embodied experience and social conditions, while “cultural production” refers to the outcome of collective parental practices and a meaning-making process regarding parental involvement in education. Oral history interviews were conducted with ten families (five fathers and five mothers). This research argues that parents can be divided into two groups based on the distinction of identities of interests in schooling, occupational career, and place of identity, with one group having long-term employment and the other having short-term jobs. Therefore, two sets of parental expectations are conceptualized through penetrations: onward mobility from the periphery to the center and upward mobility from a short-term to a long-term job. Finally, all parents produce the culture of “it depends on himself/ herself” regarding parental involvement in education and conduct four types of parental strategies considering parents’ social class and children’s grades parents perceive: position, trust, ambivalence, and distance.

No description available.

In over three decades since their 1993 debut, the hip-hop artists known as RZA and Wu-Tang Clan created a world whose significance (for them) transcends the local contingencies of time, place, race, and religion. Whether it is by their creating a world based on filmic myths, by their conquering the world via hip-hop and finding their destiny in a Chinese sacred landscape, by their making themselves symbolic of a perennial worldview, or by their reimagining of their possibilities against the historical terrors of racism, in each case we find an ongoing quest for transcendence that at least for their leader, RZA, demonstrates the meaning of the Wu-Tang Clan. This study sets out to demonstrate this latter point. Framing its discussion in terms of world and worldmaking, I argue that the fundamental thread of significance that ties together the mythical world of the Wu, especially from the perspective of RZA, is a quest for transcendence, a project that is replete with stylistic, spiritual, existential, cross-cultural, and racial implications. While this is no biography of the Wu-Tang Clan, each chapter, starting with Chapter 2, asks how and why this quest takes shape in a sequentially ordered discussion of Wu’s worldmaking career. In arguing my point, I mainly take a phenomenological approach to RZA and the Wu-Tang Clan’s cultural productions, describing and interpreting various forms of Wu-associated media (songs, compact discs, album concepts and graphic designs, films, books, and more) from 1993 to the early 2020s. Between the practices of cultural criticism and interpretation, the study also draws from and contributes to Afro-Asian studies and Religious Studies. / Dissertation / Doctor of Philosophy (PhD) / This is a study of the Wu-Tang Clan, a hip-hop group from Staten Island, New York. It argues that for over two decades since their 1993 debut, the Wu-Tang Clan has come to produce not only a long resume of music and other media but a mythic world. Furthermore, for the purpose of maintaining this world across time, Wu’s leader, RZA (pronounced “Rizah’), has aimed to make the Wu-Tang Clan symbolic of a universal worldview that transcends their local culture, history, place of origin, religion, and race.

<p>This dissertation is based on four years of ethnographic research of contemporary women-only social formations. Two women-only leisure activities, women’s flat track roller derby and women-only home improvement workshops, were selected as sites through which to explore the research problem: problematizing contemporary women onlyness. The research problem is developed in direct contrast to the dominant (naturalized, essentialized, assumed) approach to women onlyness in the literature. Specifically, taking a fresh look at women-only social formations by problematizing women onlyness, through exploring women’s experiences of and meaning making about women onlyness, calls critical attention to women onlyness. The analysis, informed by a conceptual framework that draws on Connell’s concept of ‘gender regime’ and a CCCS-inspired approach to cultural production, reveals the ways that women participants are active in the production of women onlyness gender regimes. Specifically, women’s flat track roller derby skaters and women-only home improvement workshop participants consistently and constantly negotiate essentialized stereotypes of gender as they “win space” for themselves in traditionally male-dominated and masculine defined activities and settings, and make meaning of their involvement in these women-only leisure activities. Women participants produce women onlyness gender regimes in the ways they make time and space for and gender mark these activities, and in social interactions with each other, men, and other women. They work to produce women onlyness gender regimes that are experienced as welcoming, supportive, and comfortable, and encourage women to develop expertise and relationships with other participants. Emphasizing these processes of production reveals that these women onlyness gender regimes are not the natural result of a women-only group or the exclusion of men. These findings contradict the tendency in the existing literature to naturalize women onlyness, and contribute to our understanding of contemporary women-only social formations.</p> / Doctor of Philosophy (PhD)