I propose to analyze and categorize the interpretations of the "hillbilly" stereotype in twenty-first century films (in both "art" films and in mainstream studio productions). In his seminal 1995 study of the portrayal of the "hillbilly" stereotype in twentieth century films (_Hillbillyland_), J. W. Williamson viewed that particular stereotype as being a rural American rather than specifically an Ozark and/or Appalachian phenomenon, and thus he identified films set in rural sections of various rural regions of the U.S. as having been equally involved in the proliferation of manifestations of the "hillbilly" stereotype. By incorporating my own research into the history of the "hillbilly" stereotype, I plan to challenge Williamson's argument by suggesting that in his effort to defend Appalachian culture from negative stereotyping (he was an Appalachian studies scholar at Appalachian State University) Williamson misinterpreted the true nature of that stereotype, which was indeed an effort by mainstream American culture, from before the American Revolution through the late twentieth century and arguably into the new millennium, to identify a distinctively "other" sectional culture within the United States--one that in its very "otherness" rendered mainstream American culture (which historically suffered from a kind of inferiority complex when it compared itself to European cultures) as inherently more "cultured" by comparison. After I critique Williamson's study, I plan to suggest the emergence of a new strain of postmodern, indeed post-"hillbilly," stereotyping practiced in certain newer, late twentieth century and early twenty-first century films, even as other twenty-first century films have rehashed old "hillbilly" stereotyping tropes borrowed from an earlier era.

O presente trabalho tem como objetivo geral estudar o vocabulário de uma modalidade de samba paulista conhecida como samba de bumbo, ou, seguindo clássico ensaio de Mário de Andrade (1937), samba rural paulista. O corpus objeto de trabalho é fundamentalmente constituído por dois tipos de entrevistas (livres e controladas), produções lítero-musicais e bibliografia encontrada sobre o tema. Com base nesse corpus, definimos o vocabulário para a elaboração do questionário, aplicado com praticantes e não praticantes do samba, e para o desenvolvimento do estudo semântico-lexical. Esse estudo subdivide-se em duas análises: (i) análise diacrônica das unidades lexicais coletadas junto aos praticantes do samba, comparando suas acepções, dentro do universo da manifestação, às encontradas em dicionários dos séculos XX e XXI; e (ii) análise discursiva pontual de alguns vocábulos/textos. O objetivo específico deste estudo é, portanto, registrar as unidades lexicais de uso popular da referida expressão cultural, suscitando uma discussão sobre a tendência à manutenção e tendência ao desuso em curso dos elementos que compõem seu vocabulário, de modo a averiguar se a população das localidades onde o samba de bumbo continua sendo praticado já não mais reconhece e utiliza, frequentemente, os vocábulos relacionados à manifestação. Para realizar esta tarefa, apoiamo-nos na sociolinguística, na dialetologia, na lexicologia e na análise do discurso de linha francesa (AD). Os resultados alcançados demonstram que o samba de bumbo passa por um processo de apagamento refletido no léxico das localidades investigadas, principalmente em meio aos não praticantes, mas também indicam o recente movimento de restruturação dos grupos, que resistem e se articulam em busca de fortalecer a manifestação. De outra parte, ao evidenciarem os processos opacos que contribuíram para o enfraquecimento do samba, tais resultados ainda permitem demarcar o local de enfrentamento das práticas de resistência hoje promovidas pelos grupos tradicionais e não tradicionais de samba de bumbo. / The present paper has as a general objective to study the vocabulary of a form of samba paulista (the samba from São Paulo) known as samba de bumbo, or, as suggested by Mário de Andrade\'s classic essay (1937), samba rural paulista (paulista rural samba). The corpus of the paper constitutes of two types of interviews (free and controlled), literary and musical productions as well as bibliography on the subject. The vocabulary to elaborate the questionnaire was defined with foundation on the corpus, which was also used to develop the semantic-lexical study. The questionnaire was applied both to practitioners and nonpractitioners of samba. The study subdivides itself in two analysis: (i) a diachronic analysis of the lexical units collected amongst the practitioners of samba, comparing the acceptation, inside the universe of manifestation, to the ones found in dictionaries of the 20th and 21st Centuries; and (ii) a discursive analysis of specific vocabulary/texts. The specific objective of this paper is, therefore, to register lexical units of popular use of the aforementioned cultural expression, giving rise to a discussion about the tendency to maintain and the tendency to disuse in course of the elements that constitute its vocabulary, as a way to examine if the population of the places where the samba de bumbo is still practiced no longer recognize or use the vocabulary related to the manifestation. To carry out this task, sociolinguistic, dialectology, lexicology and the French school of discourse analysis were used. The results that were reached demonstrate that the samba de bumbo is suffering a process of being erased which is reflected on the lexicon of the investigated places, especially amongst the non-practitioners, but they also indicate a recent movement to restore the groups that resist and articulate as a means to strengthen the manifestation. On the other hand, as they make clear the opaque processes that contributed to the weakening of samba, these results still permit us to mark the places of confrontation of the resistance practices nowadays promoted by traditional and non-traditional groups of samba de bumbo.

O presente trabalho tem como objetivo geral estudar o vocabulário de uma modalidade de samba paulista conhecida como samba de bumbo, ou, seguindo clássico ensaio de Mário de Andrade (1937), samba rural paulista. O corpus objeto de trabalho é fundamentalmente constituído por dois tipos de entrevistas (livres e controladas), produções lítero-musicais e bibliografia encontrada sobre o tema. Com base nesse corpus, definimos o vocabulário para a elaboração do questionário, aplicado com praticantes e não praticantes do samba, e para o desenvolvimento do estudo semântico-lexical. Esse estudo subdivide-se em duas análises: (i) análise diacrônica das unidades lexicais coletadas junto aos praticantes do samba, comparando suas acepções, dentro do universo da manifestação, às encontradas em dicionários dos séculos XX e XXI; e (ii) análise discursiva pontual de alguns vocábulos/textos. O objetivo específico deste estudo é, portanto, registrar as unidades lexicais de uso popular da referida expressão cultural, suscitando uma discussão sobre a tendência à manutenção e tendência ao desuso em curso dos elementos que compõem seu vocabulário, de modo a averiguar se a população das localidades onde o samba de bumbo continua sendo praticado já não mais reconhece e utiliza, frequentemente, os vocábulos relacionados à manifestação. Para realizar esta tarefa, apoiamo-nos na sociolinguística, na dialetologia, na lexicologia e na análise do discurso de linha francesa (AD). Os resultados alcançados demonstram que o samba de bumbo passa por um processo de apagamento refletido no léxico das localidades investigadas, principalmente em meio aos não praticantes, mas também indicam o recente movimento de restruturação dos grupos, que resistem e se articulam em busca de fortalecer a manifestação. De outra parte, ao evidenciarem os processos opacos que contribuíram para o enfraquecimento do samba, tais resultados ainda permitem demarcar o local de enfrentamento das práticas de resistência hoje promovidas pelos grupos tradicionais e não tradicionais de samba de bumbo. / The present paper has as a general objective to study the vocabulary of a form of samba paulista (the samba from São Paulo) known as samba de bumbo, or, as suggested by Mário de Andrade\'s classic essay (1937), samba rural paulista (paulista rural samba). The corpus of the paper constitutes of two types of interviews (free and controlled), literary and musical productions as well as bibliography on the subject. The vocabulary to elaborate the questionnaire was defined with foundation on the corpus, which was also used to develop the semantic-lexical study. The questionnaire was applied both to practitioners and nonpractitioners of samba. The study subdivides itself in two analysis: (i) a diachronic analysis of the lexical units collected amongst the practitioners of samba, comparing the acceptation, inside the universe of manifestation, to the ones found in dictionaries of the 20th and 21st Centuries; and (ii) a discursive analysis of specific vocabulary/texts. The specific objective of this paper is, therefore, to register lexical units of popular use of the aforementioned cultural expression, giving rise to a discussion about the tendency to maintain and the tendency to disuse in course of the elements that constitute its vocabulary, as a way to examine if the population of the places where the samba de bumbo is still practiced no longer recognize or use the vocabulary related to the manifestation. To carry out this task, sociolinguistic, dialectology, lexicology and the French school of discourse analysis were used. The results that were reached demonstrate that the samba de bumbo is suffering a process of being erased which is reflected on the lexicon of the investigated places, especially amongst the non-practitioners, but they also indicate a recent movement to restore the groups that resist and articulate as a means to strengthen the manifestation. On the other hand, as they make clear the opaque processes that contributed to the weakening of samba, these results still permit us to mark the places of confrontation of the resistance practices nowadays promoted by traditional and non-traditional groups of samba de bumbo.

This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War.

Made available in DSpace on 2017-07-10T17:56:08Z (GMT). No. of bitstreams: 1 Lays_Matias_Mazoti.pdf: 1746780 bytes, checksum: 5c9a847a241c01fcd45771755d0e2ceb (MD5) Previous issue date: 2011-09-03 / The humorous representation of the Brazilian history could always be perceived in several artistic formats: images, movies, literary texts, theatrical pieces and also in the music. In the folk music, beyond the conception the act of telling jokes , it was assumed, sporadically, a character scenic, performative and grotesquely. Thinking on this question, I seek in this work to analyze the main humorous productions of the hillbilly duo partner, observing, especially, a articulation between comic features used - satire and parody - with the current issues in the social environment of the 1930s and 1940s. However, you must understand artistic production within the field of various socio-cultural transformations that prevailed at the time, once it was from these very changes that hillbilly music could find space to face the urban prejudice city through appropriation of this new representation of the hillbilly ensuring, this way, its own identity. / A representação humorística da história brasileira sempre pôde ser percebida em diversos formatos artísticos: imagens, filmes, textos literários, peças teatrais e também na música. Na música popular, ultrapassando a concepção do ato de se contar piadas , assumiu, por vezes, um caráter cênico, performático e caricatural. Pensando sobre essa questão, busco nesse trabalho analisar as principais produções humorísticas da dupla caipira Alvarenga e Ranchinho, atentando-se, sobretudo, a articulação entre os recursos cômicos utilizados sátira e paródia - com as questões vigentes no meio social das décadas de 1930 e 1940. Esses aspectos foram pensados a partir do campo das diversas transformações sócio-culturais que vigoravam naquele momento, uma vez que foi a partir dessas próprias mudanças que a música caipira pôde encontrar espaço para enfrentar os preconceitos citadinos - via apropriação humorística dessa nova representação do caipira garantindo, assim, sua própria identidade

Made available in DSpace on 2016-04-27T19:30:50Z (GMT). No. of bitstreams: 1 Elton Bruno Ferreira.pdf: 1066027 bytes, checksum: 130cc48df0996ac57cf1de48d45784ee (MD5) Previous issue date: 2013-10-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research analyzes the production of Cornelio Pires, emphasizing the recordings that he organized, which included songs and narratives, a total of 52 disks with 78 rpm (1929 and 1930), enabling the record and hearing the sounds in urban rustics. Therefore, we attempted to recover the transformations in the city of São Paulo, where the recordings were made of the disks and their disclosure. In the late '20s and during the '30s, this city was booming, with a pole of attraction for migrants and immigrants seeking a better life and achieving your dreams, among the new elements of "modernity" emerged and spread in the radio which reported the sounds hillbillies, among many others. In the series Caipira Cornelio Pires is represented the rural, the rustic and culture, often in contrast to the urban experiences. The intense growth of São Paulo generated feelings of nostalgia, emerging representations of country life as idyllic and harmonious, resuming their countryman culture references to religiosity, everyday practices, work, leisure and party (task force, which worked in, sang, ate and doted), relations between male and female and affective relationships and loving. Thus, the countryman and hillbilly culture represented by Cornelio Pires are wrapped in a process of "cultural hybridity" in a building in constant relationship between town and country by means of sound, the everyday representations and projects he betrayed the production / Esta pesquisa analisa a produção de Cornélio Pires, enfatizando as gravações por ele organizadas, que contavam com músicas e narrativas, num total de 52 discos de 78 rotações (1929 e 1930), possibilitando o registro e a audição das sonoridades caipiras no meio urbano. Para tanto, busca-se recuperar as transformações na cidade de São Paulo, onde foram feitas as gravações dos discos e sua divulgação. No final da década de 20 e durante os anos 30, essa cidade encontrava-se em expansão, sendo um polo de atração para migrantes e imigrantes que desejavam melhores condições de vida e realização de sonhos. Entre os novos elementos de modernidade , surgiu e se difundiu o rádio, no qual foram divulgadas as sonoridades caipiras, entre muitas outras. Na Série Caipira Cornélio Pires representava-se o mundo rural, o caipira e sua cultura, muitas vezes, em contraste com as experiências urbanas. O crescimento intenso de São Paulo gerava sentimentos de nostalgia, emergindo as representações da vida no campo como idílica e harmoniosa, retomando a cultura caipira suas referências à religiosidade, as práticas cotidianas, o trabalho, a festa e o lazer (mutirão, no qual se trabalhava, cantava, comia e enamorava), as relações entre os gêneros masculino e feminino e as relações afetivas e amorosas. Dessa forma, o caipira e a cultura caipira representados por Cornélio Pires encontram-se envoltos em um processo de hibridismo cultural , numa construção em constante relação entre campo e cidade por meio da sonoridade, das representações cotidianas e dos projetos que ele deixava transparecer na sua produção

Made available in DSpace on 2016-03-15T19:48:09Z (GMT). No. of bitstreams: 1 Luiz Manoel Gregolim Junior.pdf: 218617 bytes, checksum: 8eb106c2afd12acbe61a45546d096055 (MD5) Previous issue date: 2011-02-10 / This dissertation examines the Presence of the Sacred in Brazilian Country Roots Music mainly focused on songs of the duo Tião Carreiro and Pardinho. By this way, a historical study of hillbilly music, hillbilly traditions and hillbilly culture is done. Through the same historical perspective is carried out a research on the life and work of the duo Tiao Carreiro and Pardinho, and finally analyzes the presence of the sacred in its music and in other duo artists music. With this dissertation, we attempt to observe the religious expression found in Brazilian country roots music, but also other religious events found in the music of the highlighted duo. In regard to the presence of sacred in songs the difference from this duo to the others duo artists is the fact that its songs contain other manifestations of religiosity beyond Brazilian popular catholicism. / A presente dissertação versa sobre a Presença do Sagrado na Música de Raiz Caipira Brasileira, mais especificamente analisa as músicas da dupla caipira Tião Carreiro e Pardinho. Dessa forma realiza-se um estudo histórico da música caipira, das tradições caipiras e da cultura caipira. Na mesma perspectiva histórica é feita uma pesquisa sobre a vida e a obra da dupla Tião Carreiro e Pardinho, e por fim apresenta-se uma análise da presença do sagrado nas músicas caipiras desta e de outras duplas. Esta dissertação procura observar as manifestações religiosas encontradas na música caipira, como também outras faces religiosas presentes nas músicas da dupla em destaque. Em se tratando da presença do sagrado, a diferença dessa dupla das demais está no fato de conter em suas músicas outras manifestações da religiosidade brasileira além do catolicismo popular.

David Harrison Macon (1870-1952) is often memorialized for his showmanship rather than his banjo playing. To compartmentalize such a significant American musician yields a wide gap within scholarship about Macon, country music history and the banjo. Macon’s banjo playing, documented through over two-hundred and fifty recordings made between the 1920s and 1950s, represents an array of cultures, eras, ethnicities, and styles all preserved in the repertoire of one of the most prolific country musicians of the 20th century. This study reveals Macon’s playing by considering such factors as influences that preceded his professional tenure, identifying elements within his playing from specific stylistic origins, and by technically notating selections from Macon’s canon that represent those influences. To understand the instrumental playing of one of early country music’s most important figures broadens understanding of banjo influences from the nineteenth century which laid the foundation for the instrument’s renaissance in the twentieth century.