Made available in DSpace on 2015-05-14T12:23:08Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1991494 bytes, checksum: 7dee47c9697fcd796fcbc83249c42405 (MD5) Previous issue date: 2012-09-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research presents an analysis about part of the work of Jackson do Pandeiro, situated between the years of 1953 and 1967. Such analysis aims to point his work as an important exemple of cultural hybridism found in Brazilian music. To better understand this hybridization, pervades our analysis the formation of national and of Northeastern identities that were being built, especially from 1920s. We understand this period of Jackson do Pandeiro‟s work as a contribution to the scaling ideas of Brazilian nationality and of northeasternity , in order to make us comprehend how these formulations of identity are rather part of a historical process, and not a data frozen in time and in static spaces. In this sense, the study is related to a research line of Regional History, since it helps us to comprehend the construction of a specific region, Brasilian Northeast, parting from its relationship with agents and spaces, either national or global ones. / Esta pesquisa apresenta uma análise acerca de uma parte da obra de Jackson do Pandeiro, situada entre os anos de 1953 e 1967. Tal análise busca apontar essa obra como um exemplo importante do hibridismo cultural existente na música popular brasileira. Para compreender melhor tal hibridação, perpassa a nossa análise a formação da identidade nacional e da nordestina, que foram sendo construídas, sobretudo, a partir da década de 1920. Compreendemos esse período da obra jacksoniana como uma contribuição para o redimensionamento das ideias de nacionalidade brasileira e de nordestinidade , para que possamos perceber como essas formulações de identidade são, antes, parte de um processo histórico, e não, um dado congelado no tempo e em espaços imóveis. Nesse sentido, este estudo corresponde à linha de pesquisa de História Regional, visto que nos auxilia a compreender a construção de uma dada região, o Nordeste brasileiro, a partir da sua articulação com os agentes e os espaços nacionais e globais.

Made available in DSpace on 2016-03-15T19:42:06Z (GMT). No. of bitstreams: 1 Thiago Mori Leite.pdf: 2813630 bytes, checksum: 8ada9b1b61f043ea38d9e00285d1ab89 (MD5) Previous issue date: 2011-06-21 / Fundo Mackenzie de Pesquisa / This paper presents an investigation regarding how the artistic languages of music and painting can share and exchange aesthetic elements related to the organization (or even, sometimes, the disruption) of language structures, executed by the artists during their creating process. Right after the Second World War, New York City was made home by artists who expressed themselves in different ways, a fact that made possible the emergency of many artistic movements, including two artistic vanguard that stood by improvisation and spontaneity in the creative process: John Coltrane‟s Free Jazz and Jackson Pollock‟s Action Painting. Both artistic movements have always been intertwined and supportive to each other. Although their languages belong to different arrays, its elements are transfigured among the two territories. Proposing an analysis in semiotic and aesthetic terms, this paper attempts to relate the main artistic elements in the performances of a jazz musician and an abstract expressionist painter: the intensity with which their works are produced throughout their improvisations. The documents, the main biographical references, including recordings of artists‟ performances - videos, discographies and pictures - used during the research are from the period between 1947 and 1967 / Este trabalho parte de uma averiguação de como as linguagens artísticas da música e da pintura podem intercambiar elementos estéticos através do modo como os artistas organizam, ou, às vezes, desorganizam toda linguagem estrutural vigente durante o processo de criação de suas obras. Logo após a segunda grande guerra mundial, a cidade de Nova Iorque abrigava artistas de áreas distintas, fomentando o aparecimento de vários movimentos artísticos, entre eles duas vanguardas artísticas que se destacavam pelo improviso e pelo caráter de espontaneidade durante o processo criativo: o Free-Jazz de John Coltrane e a Action Painting de Jackson Pollock. Os dois movimentos artísticos sempre estiveram entrelaçados dando suporte um ao outro. Suas linguagens pertencem a matrizes diferentes, mas seus elementos se transfiguram nas duas esferas. Analisando semiótica e esteticamente as performances de um músico de jazz e de um pintor expressionista abstrato, este trabalho busca relacionar o elemento principal de suas artes: a intensidade com que produziam suas obras através de seus improvisos. Os documentos, as principais referências biográficas, inclusive os registros performáticos dos artistas vídeos, discografias e pinturas utilizados nesta pesquisa são do período compreendido entre 1947 e 1967

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-08T16:35:58Z No. of bitstreams: 1 LUCILVANA FERREIRA BARROS - DISSERTAÇÃO PPGH 2013..pdf: 8423584 bytes, checksum: 4f633208132cd312822faf8986171b2d (MD5) / Made available in DSpace on 2018-10-08T16:35:58Z (GMT). No. of bitstreams: 1 LUCILVANA FERREIRA BARROS - DISSERTAÇÃO PPGH 2013..pdf: 8423584 bytes, checksum: 4f633208132cd312822faf8986171b2d (MD5) Previous issue date: 2013-03-26 / Capes / Este trabalho analisa como emergiu nas últimas décadas do século XX e início do XXI na cidade de Alagoa Grande/PB, e no Estado da Paraíba, um jogo de imagens e discursos responsáveis pela construção do cantor e compositor paraibano José Gomes Filho, o Jackson do Pandeiro, em um Artista-monumento da cultura local. Investiga as condições de possibilidades por meio das quais a Paraíba e a cidade natal do músico, imersas em um movimento de revalorização das culturas locais, reacionam a imagem de Rei do ritmo atribuído a Jackson transforma-o em um monumento da música paraibana, uma escola a ser seguida pelos músicos das futuras gerações. Assim, partindo da perspectiva arqueogenealógica proposta por Foucault (2003; 2012) em verificar como se dá, através da história, a constituição de um sujeito que não é dado definitivamente, pronto e acabado, mas que se constitui no interior da própria história, e que é constantemente, a cada instante, fundado, refundado ou mesmo reelaborado dentro dela, decompõem-se as linhas de agenciamentos que foram responsáveis por construí-lo tal qual o conhecemos no tempo presente: um monumento da música/ cultura paraibana. Deste modo, analisando os vários fios discursivos responsáveis por construí-lo a partir desta ótica, observamos que estes emergiram em meio a duas temporalidades distintas: nas décadas de 50 e 60, auge de sua carreira, e na década de 80, quando a sua história começou a ser escrita novamente tendo como função servir como meio de promover um "resgate" do passado, de manutenção de uma cultural musical tida como autêntica/verdadeira do Estado/região, ameaçada pela poética da desestabilização cultural engendrada em finais do século XX e início do XXI. Assim, investigando a paisagem cultural de reavivamento de suas memórias no cenário paraibano pós década de 80, foram analisados jornais, revistas, entrevistas, homenagens, e uma biografia "Jackson do Pandeiro Rei do Ritmo", lançada pela Editora 34 em 2001. No que concerne à cidade natal do músico, analisou-se a construção de Jackson do Pandeiro enquanto um Artista-monumento desta espacialidade, cartografando o movimento por meio do qual a administração municipal, vem buscando trazer visibilidade para a cidade por meio da imagem do músico, como se pôde observar em 2008 com a construção de um pórtico em forma de pandeiro na entrada da cidade com uma placa em suas proximidades contendo as frases: "Alagoa Grande: terra de Jackson do Pandeiro", e a inauguração do "Memorial Jackson do Pandeiro" em dezembro de 2008. Investigaram-se também o conjunto de artesanatos presentes no "I Salão do Artesão de Alagoa Grande Mãos Jacksonianas", um amálgama de objetos e imagens que partindo dos interesses comerciais e turísticos do município apropriam-se da imagem do artista para promoção da cultura local, demonstrando que o trabalho de reativação da imagem do músico no município também partiu de um desejo turístico- comercial para a promoção da cultura local. Por fim, analisou-se como estes discursos foram recebidos pelos cidadãos locais, a forma como tais moradores foram subjetivados pelo arquivo de imagens e discursos construído e publicizado nos últimos anos nesta espacialidade, observando que existe na cidade uma batalha de memórias acerca do ritmista, pois para além da imagem do Cidadão-monumento elaborada para o mesmo existe no município uma memória dissidente que quebra a imagem "hegemônica" do artista no local, uma memória "proibida"/ "clandestina", que inventa outros discursos acerca deste, atribuem-lhe outra imagem, outro corpo, outra identidade fora dos moldes construídos pela memória oficial. / This work analyzes as emerged in the last few decades of the century XX and beginning of the XXI in Alagoa Grande/ PB city, a game of images and responsible discourses for the construction of the Paraiban singer and composer José Gomes Filho, the "Jackson do Pandeiro", in an Artist-monument of the local culture. It investigates the conditions of possibilities through which the Paraíba and the hometown of the musician involved in a movement of revaluation of the local cultures, react the image of King of the rhythm attributed to Jackson transforms him in a monument of the Paraiban music, a school to be followed for the musicians of the future generations. Thus, based about the perspective archaeo-genealogical offered by Foucault (2012; 2003) to verify like is, through the history, the constitution of a subject that isn't definitely readymade and finished but that constitutes in the inner of the own history, and that is constantly, to each moment founded, refounded or reworked within itself, decomposes the lines of agency that were responsible to construct himself such what the know in the present tense: a monument of the music/ Paraiban culture. Thereby, analyzing some discursive clews responsible to construct itself based in this view, we observe that these emerged through two temporalities: in the 50s and 60s, climax of his career, and in the 80s, when his history started to be writing again been as function to promote a "rescue" of the past, support of a cultural musical been as authentic/ true of the state/region, threatened for the poetic of the cultural destabilization engendered at the end of the century XX and at the beginning of the XXI. Thus, investigating the cultural landscape of revival of his memories in the scene of Paraíba post decade of 80, were analyzed newspapers, magazines, interviews, homages, and a biography "Jackson do Pandeiro King of the Rhythm", cast for the publishing company 34 in 2001. This regards to hometown of the musician, analyzed the construction of "Jackson do Pandeiro" while an Artistmonument of this spatiality, mapping the movement through what the municipal administration, seeking to bring sight to the city over the image of the musician, as we can observe in 2008 with the construction of a gateway in form of tambourine in the entrance of the city with a sign having this sentence: "Alagoa Grande: land of Jackson do Pandeiro", and the inauguration of the "Memorial Jackson do Pandeiro" in December, 2008. Investigated also the conjunct of handicraft in the "I Hall of Artisan from Alagoa Grande - Jacksonianas Hands", an amalgam of objects and images that were based in commercial interests and tourism of the municipality appropriate of the image of artist to promotion of the local culture, showing that the work of reactivation of the image of the musician in the municipality it also based of a desire commercial-tourism to the promotion of the local culture. At last, analyzed as these discourses were received for the local citizens, the form as the inhabitants were subjective for the file of images and discourses constructed and publicized in the last few years in this spatiality, observing that there is in the city a battle of memories about the played rhythm, for above the image of the citizen-monument elaborated to the same, there is in the municipality a dissident memory that breaks the "hegemonic" image of the artist in the place, a "prohibited memory'7 "clandestine", that it invents another discourses about this, attributes another image, another body, another identity out of the molds constructed for the official memory.

Framing Neverland is a content analysis that examines how the documentary Leaving Neverland is portrayed in Swedish daily press between January 25 to May 20, 2019. It is through the questions “How does the framing of Leaving Neverland being perceived in Swedish daily press?” and “Does morning and evening presses differ in the framing?” the essay was designed. Entman's framing theory forms the basis of the study's theoretical framework and is supplemented with media logic and tabloidization, which is operationalized into variables in the study of 100 articles within Swedish daily press. The Swedish morning and evening newspapers are represented by the four largest daily newspapers in Sweden today; Aftonbladet, Dagens Nyheter, Expressen and Svenska Dagbladet. A cluster selection were made in the process of choosing the articles, because of the choice of newspapers which is the largest Swedish ones today, also a total selection when all published articles within the population have become objects for the survey. Previous research consists of framing theory and tonality of different subjects than this study, since similar essays traditionally relate to political and war reporting. Inspiration has been given from previous research on analysis tools to apply to this contemporary work which is at the intersection of popular culture and news content. The newspaper framing  in general is relatively homogeneous, which explains some tabloidization among, what we call, the quality press. The commercialization of the media gives rise to this, but some differences remain. Aftonbladet is the newspaper with the most frequent reporting by Leaving Neverland and then comes Expressen. Which means that the evening press prioritize this topic as a higher news value than what the morning press does. However, it is possible to extract a result which shows that the content of the morning press is of a more critical nature towards Leaving Neverland. Together, the result is thus presented through framing theory, media logic and tabloidization, which together explain how the documentary is framed. / Framing Neverland är en kvantitativ innehållsanalys som undersöker hur dokumentären Leaving Neverland gestaltas i svensk press mellan 25 januari till 20 maj 2019. Det är genom frågeställningarna “Hur ser gestaltningen av Leaving Neverland ut i svensk press?”  samt  “Skiljer sig morgon- och kvällspress i gestaltningen?”  som uppsatsen utformats. Gestaltningsteori står till grund för studiens teoretiska ramverk och kompletteras med medielogik och tabloidisering, vilket operationaliseras till variabler i studien av 100 artiklar inom svensk press. Svenska morgon- och kvällstidningar representeras genom de fyra största dagstidningarna i Sverige idag; Aftonbladet, Dagens Nyheter, Expressen och Svenska Dagbladet. Det är således ett klusterurval som gjorts av de största tidningarna, men även ett totalurval då alla publicerade artiklar inom populationen har blivit objekt för undersökningen.  Tidigare forskning består av gestaltning och tonalitet av annan slags karaktär än denna studie, då liknande uppsatser traditionellt sett förhåller sig till politisk- och krigsrapportering. Inspiration har givits från tidigare forskning gällande analysverktyg för att applicera på detta nutida verk som befinner sig i skärningspunkten mellan populärkultur och nyhetsinnehåll. Resultatet i studien visar att tidningarnas sammanslagna gestaltning generellt är relativt homogen, vilket förklarar viss tabloidisering bland “kvalitetspressen”. Mediernas kommersialisering ger upphov till detta, men vissa innehållsmässiga skillnader kvarstår. Aftonbladet är den tidning som står för största delen av nyhetsrapporteringen av Leaving Neverland och därefter kommer Expressen. Detta innebär att kvällspressen anser att detta ämne har ett högre nyhetsvärde än vad morgonpressen gör. Således går det att utvinna ett resultat som påvisar att morgonpressens gestaltning är av mer kritisk karaktär gentemot Leaving Neverland. Tillsammans redovisas följaktligen resultatet genom gestaltningsteori, medielogik och tabloidisering, vilket tillsammans förklarar hur medierna gestaltning ser ut av dokumentären.

Notre thèse analyse la production artistique de Michael Jackson, en termes commerciaux, stylistiques, visuels, en ciblant les dynamiques et tensions raciales qui innervent ses strates narratives. La première partie porte sur les classements coloristes et la posture ubiquitaire des opus jacksoniens, recontextualisés au sein de la société américaine et de l’industrie du disque racialisée. La deuxième partie analyse les composantes éclectiques et stylistiques de la pop jacksonienne et la manière dont les conventions employées se situent et opèrent face aux constructions catégoristes existantes. Enfin, la troisième partie traite des dynamiques et tensions raciales portées par les productions visuelles (vidéos, image artistique) et les textes, comme autant de fondements identitaires de son potentiel crossover et fédérateur auprès d’un public international et transracial. / Our thesis analyses Michael Jackson’s artistic production, through marketing, stylistic and visual aspects, targeting racial dynamics and tensions which invigorate its narrative layers. The first part is about the colorist charts and the ubiquitous posture of jacksonian opuses, recontextualized against american society and racialized record industry. The second part analyzes the stylistic eclectism of Jackson’s pop music and the way he uses the conventions from the musical and racial categorization. Finally, the third part is about racial dynamics and tensions carried by visual productions (video clip, artistic image) and lyrics, as elements of identity fundations of Jackson’s crossover and his federative appeal to an international and transracial audience.

This paper presents the lives and early feminist works of two modernist era poets, Laura Riding Jackson and Muriel Rukeyser. Despite differences of style, the two poets shared a common theme of essentialist feminism before its popularization by 1950s and 60s second wave feminists. The two poets also endured periods of poetic silence or self censorship which can be attributed to modernism, McCarthyism, and rising conservatism. Analysis of their poems helps to remedy their exclusion from the common canon.

Syftet med denna uppsats är att undersöka berättarna och narraterna i Rick Riordans The Lightning Thief (2005) och The Lost Hero (2010), samt att se vilka implikationer de har på berättandet i sig självt. Uppsatsen fokuserar på en komparativ undersökning av romanerna i fråga, och gör allt detta från en narratologisk utgångspunkt. Det narratologiska perspektivet kommer framför allt ifrån Gérard Genettes Narrative discourse och hans termer extra-, intra-, hetero- och homodiegetiskt berättande. Studien av narraten gör detsamma men med Gerald Prince artikel ”Introduction to the Study of the Narratee” i Reader-response criticism: from formalism to post-structuralism. För ett bredare perspektiv på flera, både nyare och äldre, narratologiska studier använder uppsatsen också Manfred Jahns ”Narratology 2.1: A Guide to the Theory of Narrative”. Genom analysen kan man utläsa att The Lightning Thief antar ett homo- och extradiegetiskt berättande med en specifik grupp av narrater. Detta kontrasteras med The Lost Heros hetero- och extradiegetiska berättande med en grundnarrat utan uppenbara kännetecken. I förlängningen kan man också upptäcka att det finns en skillnad mellan berättarens och narratens förhållande till en verklig läsare och hur, speciellt i The Lightning Thief, läsaren är tvingad att fundera på hur den relaterar till både narraten och berättaren. / This paper aims to study the narrators and the narratees in Rick Riordan's The Lightning Thief (2005) and The Lost Hero (2010), and to see what implications they have on the narrative itself. The paper focuses on a comparative examination of the novels in question and does all this from a narratological standpoint. The narratological perspective first and foremost comes from Gérard Genette's Narrative discourse and his terms extra-, intra-, hetero-, and homodiegetic narrative. The study of the narratee does the same but with Gerald Prince's article "Introduction to the Study of the Narratee" in Reader-response criticism: from formalism to post-structuralism. For a wider perspective of several, both new and old, narratological studies the paper also uses Manfred Jahn's "Narratology 2.1: A Guide to the Theory of Narrative". Through the analysis, one can gather that The Lightning Thief takes on a homo- and extradiegetic narrative with a specific group of narratees. This is contrasted with The Lost Hero's hetero- and extradiegetic narrative with a "zero-degree narratee" that has no apparent characteristics. By extension, one can also notice that a difference lies with the narrator's and narratee's relationship to an actual reader and how, especially in The Lightning Thief, the reader is forced to figure out how it relates to both the narratee and the narrator.

"The majority of the material for this paper comes from my own observation of our program and its growth in Jackson County. Jackson County is a rural county in Northwest Florida. There are a total of eight high schools located in the county, five of them having instrumental programs. This survey is an over-view of the instrumental program in Jackson County as it is now in the year 1958"--Introduction. / Typescript. / "August, 1958." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: H. W. Dean, Professor Directing Paper. / Includes bibliographical references (leaf 24).

By using the concept of forms in this analysis of “The Renegade,” postwar domestic life is analyzed for the uncanny. By locating repetitions in domestic life, between characters, and in speech, situations are identified where the uncanny moves into the domestic. As a result, the perception of reality of the protagonist, Mrs. Walpole, is damaged, reiterating the impossibility of sanity in a postwar housewife’s domestic life.

Detta arbete utgörs av en skönlitterär översättning från engelska till svenska med tillhörande kommentar. Texten som har översatts är skräcknovellen The Summer People av den amerikanska författaren Shirley Jackson (1916–1965). En källtextnära översättningsprincip upprättades för översättningsarbetet baserat på teorier om skopos, polysystemteori samt domesticering/exotisering. Översättningskommentaren innehåller en redogörelse för de översättningsstrategier som tillämpats vad gäller överföring av källtextens kultur- och tidsspecifika referenser, talspråksmarkörer och stilistiska drag. Det utfördes även en mindre specialundersökning bestående av en kvalitativ jämförelse mellan svenska översättningar av Shirley Jacksons romaner utförda av Inger Edelfeldt och Torkel Franzén. Specialundersökningen visade att Edelfeldt tog sig något större friheter med texten, och framför allt Franzéns översättning hade stora likheter med den aktuella översättningen av The Summer People. / This paper consists of a commented translation of literary fiction from English to Swedish. The translated text is a short story of the horror genre called The Summer People by the American author Shirley Jackson (1916–1965). A source text-oriented translation principle was established for the translation task based on theories such as skopos, polysystem theory and domestication/foreignization. The commentary contains an account for the translational strategies that were applied regarding transfer of culture- and period-specific references, indications of spoken language, and literary style in the source text. An additional minor study was also carried out, consisting of a qualitative comparison between translations of Shirley Jackson’s novels executed by Inger Edelfeldt and Torkel Franzén. The additional study showed that Edelfeldt made slightly more alterations of the text, and Franzén’s translation in particular showed striking similarities to the current translation of The Summer People.