O Catatau foi escrito entre 1966 e 1975, período em que o Brasil estava sob uma hedionda ditadura militar. No mesmo período, a cultura do país vivia um de seus momentos mais ricos e intensos, oferecendo aos brasileiros manifestações como a Tropicália, o Cinema Novo, o Teatro Oficina, o Cinema Marginal etc. Nosso trabalho pretende demonstrar como o Catatau se situa nesse contexto histórico e, principalmente, como produz uma crítica política ao regime de exceção. Devido a esse posicionamento crítico diante do poder autoritário, acreditamos que o Catatau pode ser considerado um romance de protesto e não apenas uma obra experimental ou de vanguarda, como usualmente o livro de Leminski é abordado. Porém, diferentemente dos outros romances de protesto escritos no período chamado pós-64, o Catatau se caracteriza por sua linguagem barroca e pela filiação à longa tradição da literatura carnavalizada. Utilizamos como suporte teórico para a análise do barroco principalmente o trabalho de Severo Sarduy. E para a análise da carnavalização adotamos especialmente os conceitos de Mikhail Bakhtin apresentados nas obras Problemas da poética de Dostoiévski e A cultura popular na Idade Média e no Renascimento: o contexto de François Rabelais e também o importante livro de Enylton de Sá Rego, O calundu e a panaceia, no qual o autor estuda as relações entre a obra machadiana e a sátira menipeia. / Catatau was written between 1966 and 1975, a period when Brazil was under a hideous military dictatorship. In the same period, the Brazilian culture lived one of its richest and most intense moments, producing manifestations as Tropicália, Cinema Novo, Teatro Oficina, Cinema Marginal etc. Our work aims to demonstrate how Catatau is situated in that historical context and especially how it produces a political critique of the authoritarian regime. Due its critical position on the authoritarian power, we believe Catatau may be considered a \"novel of protest\" and not just an experimental or avant-garde work, as usually Catatau is considered. However, unlike the other \"novels of protest\" written during the period called \"post-64\", Catatau is characterized by its baroque language and its affiliation with the long tradition of carnivalized literature. The theoretical support for the analysis of the baroque is mainly the work of Severo Sarduy. And to the analysis of carnivalization we adopted especially the concepts of Mikhail Bakhtin presented in the books Problems of Dostoevsky\'s poetics and François Rabelais and Popular culture in the Middle Ages and the Renaissance and also the important work of Enylton de Sá Rego, O calundu e a panaceia, in which the author studies the relationships between Machado de Assis\'s work and the menippean satire.

This thesis named The Inspiration of the Message of the Movement Arte Povera in Object Realisation or a New Art from Second-Hand is divided into a theoretical and practical part. The theoretical contains the beginning and evolvement of Arte Povera as an art group in the sixties which were affected by a political and social unstability in Italy. Individual artists of this movement, analysis of their works and collective exhibitions connected with Arte povera will be part of the research. Thesis also takes a closer look at czechoslovakian context of the sixties and seventies, its representative figures and their connection with Italian art scene. The practical part is inspired by a knowledge acquired from the works of the representatives of Arte povera and its part are downsized models of the final work and photos.

O presente trabalho tem por objetivo analisar o filme Im Not There (Não estou lá, EUA, 2007), dirigido pelo norte-americano Todd Haynes. A análise terá como seu principal objetivo detectar o tema central da obra, que retrata a vida e carreira de Bob Dylan através de seis personagens bastante distintos. Para isso, serão observados mais minuciosamente três personagens da película, os mais ligados ao universo musical, a saber, o menino que se apresenta como Woody Guthrie, Jack Rollins e Jude Quinn. Os outros três personagens (Robbie Clark, Arthur Rimbaud e Billy the Kid) serão discutidos à medida que suscitam temas relevantes para a compreensão da obra. Tal análise permite concluir que o tema central de Im Not There é a indústria cultural. A partir disso, é possível então ver de que maneira essa questão é abordada pelo filme e como ela serve de ponto de partida para uma discussão mais ampla, sobre o panorama social e político da década de 1960 nos Estados Unidos. Por fim, será debatida a importância de um filme contemporâneo ter como mote os anos 60 e como o próprio Im Not There, enquanto objeto de cultura, se relaciona com a discussão que ele próprio propõe sobre a indústria cultural / The aim of the present work is to analyze the movie Im Not There (USA, 2007), by the American director Todd Haynes. The analysis will have as its main goal pinpointing the central theme of the movie, which portrays the life and career of Bob Dylan through six very distinct characters. Therefore, three characters will be thoroughly observed, the ones more closely connected to the musical universe, namely the boy who presents himself as Woody Guthrie, Jack Rollins and Jude Quinn. The other three characters (Robbie Clark, Arthur Rimbaud and Billy the Kid) will be discussed insofar as they raise relevant issues for understanding the film. This analysis leads to the conclusion that the main topic in Im Not There is the culture industry. It is thus possible to see in which way the movie deals with this issue and how the theme works as a starting point for a broader discussion concerning the social and political panorama of the 1960s in the United States. Finally, it is necessary to debate the importance of a contemporary movie having as its topic the 1960s and how Im Not There itself, as a cultural object, relates to the discussion it proposes regarding the culture industry

This thesis examines patterns of German memory and identity construction as reflected in historical debates around the Rosenstraße protest in 1943 and cultural representations of it since 1990. It positions them within the wider context of debates in Germany on resistance on the one hand and shifting conceptions of national identity on the other. It argues that although the increase in public interest in the protest may appear to be a consequence of unification and the ensuing shift in coming to terms with the past, it in fact precedes them. Drawing on the work in cultural memory theory of Maurice Halbwachs, Jan Assmann, Benedict Anderson, Eric Hobsbawm and others, arguments about the social construction of memory and identity are employed to show how and why patterns of memory, attitudes and ideas about the Nazi past, as expressed through different media of memory, have shifted and how these are tied to conceptions of national identity. This thesis focuses first on debate amongst historians, before moving on to discuss popular history, biography, film and the different forms of memorialisation. It asks why the protest has become a more prominent feature of cultural memory since unification, and demonstrates that its increased currency is a product of trends in resistance historiography and in Holocaust discourses. It argues that cultural memories are multi-layered and developed in relation to one another. The interplay between these different media is therefore analysed, with particular attention given to who is involved in shaping memories of the protest and why, how these memories and surrounding debates have altered over time, and what this indicates about continuing impact of, and attitudes towards the past. This allows for a consideration of the multiple notions of national identity which these representations foster, and an exploration of how conceptions of identity influence what is remembered. The question is asked whether the Rosenstraße resistance narrative has, since the 1980s, facilitated the emergence of a more inclusive and a more nuanced remembering, particularly as this narrative highlights the complexities of opposition and attempts to integrate conceptions of Jewish and non-Jewish suffering, centring them within the one narrative. It asks whether these notions are juxtaposed, and whether either victimhood or German responsibility is relativised. The thesis explores how Germans’ relationship with Jews is reconfigured, how German-Jewish solidarity is foregrounded, who is represented as victim, and of what. At the same time, the extent to which a more hybrid sense of identity, one that transcends national and ethnic boundaries, is promoted through the representations of the Rosenstraße protest is also considered. Lastly, it is argued that the competing representations of events in Rosenstraße which are examined here exemplify the fraught, complex and politicised dynamics of Germany’s historical memory, which is characterised by tension between the wish for normalization and the desire to maintain a critical awareness of the past in which opposition may be recognised but accountability is not relativised. The thesis explores which view predominates and speculates whether this is likely to shift in the near future.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-11T15:45:34Z No. of bitstreams: 1 Julio Trevisam Braga.pdf: 882470 bytes, checksum: 3c2c5055c2743556aa6b0558a2c7364f (MD5) / Made available in DSpace on 2017-01-11T15:45:34Z (GMT). No. of bitstreams: 1 Julio Trevisam Braga.pdf: 882470 bytes, checksum: 3c2c5055c2743556aa6b0558a2c7364f (MD5) Previous issue date: 2016-12-15 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Amid the current repercussion around world of protests raised in criticism to a progressive loss of State autonomy in face of the regulation of profit by financial speculation, among the social movements of the present day it’s perceived the reappropriation of principles such as autonomy, horizontality, independence and solidarity. At the same time, it was highlighted among this movements the approach of action methodologies based on the instrumentalization of cyberculture. This context gives us the opportunity to reopen the debate about the historian’s treatment of the problematics of a history of the present time. On that intent, what discursive and instrumental elements are arranged between movements such Occupy Wall Street and the NYC General Assembly, in the USA, Democracia Real YA! platform, in Spain, Movimento Passe Livre – SP and the ANEL and Juntos! collectivies, which can confirm the proposal for a new model of political participation, linked to the perception of a demand for another city and another democracy? Finally, what’s the intensity evidenced in the respective protests about the interaction of urban space occupation and the use of digital networks? For the analyses, we exclusively investigate the blogs of each movement. Our considerations pointed out that, among them, these principles present different tonalities of familiarization, affirming, therefore, different practices of action and specific conceptions around the model of political participation idealized by each movement / Em meio à atual repercussão de protestos pelo mundo levantados em crítica à uma progressiva perda de autonomia do Estado frente à regulação do lucro pela especulação financeira, entre os movimentos sociais da atualidade é percebida a reapropriação de princípios como a autonomia, a horizontalidade, a independência e a solidariedade. Ao mesmo tempo, destacou-se entre os movimentos a aproximação de metodologias de ação baseadas na instrumentalização da cibercultura. Este contexto nos dá o ensejo para reabrir o debate em torno do trato do historiador com as problemáticas de uma história do tempo presente. Com esse intuito, que elementos discursivos e instrumentais estão dispostos entre movimentos como o Occupy Wall Street e o NYC General Assembly, nos EUA, a plataforma Democracia Real YA!, na Espanha, o Movimento Passe Livre – SP e os coletivos ANEL e Juntos!, no Brasil, os quais possam confirmar a proposta de um novo modelo de participação política, vinculada à percepção da demanda por uma outra cidade e outra democracia? Por fim, qual a intensidade evidenciada nos protestos respectivos sobre a interação da ocupação do espaço urbano e o uso das redes digitais? Para a análise, investigamos exclusivamente os blogs de cada movimento. Nossas considerações apontaram que, entre eles, estes princípios apresentam tonalidades diferentes de familiarização, afirmando, portanto, distintas práticas de ação e concepções específicas em torno do modelo de participação política idealizado por cada movimento

Made available in DSpace on 2016-04-26T18:14:35Z (GMT). No. of bitstreams: 1 Wagner Correa.pdf: 3984394 bytes, checksum: 8ab2e25e701aed7531757b4ae84e8d92 (MD5) Previous issue date: 2014-10-22 / This analysis aims at investigating the protests through crosses that occur on Copacabana Beach. The events, organized from the 2000s, do not rely on the presence of protesters, diverging from the traditional form of protest involving overcrowding, banners with messages, slogans and interrupt flows. NGOs, associations and civic groups are responsible for organizing the demonstrations, which always manage spaces in the media. It seeks the origins of this form of protest and its relation to the space where it occurs. It will also raise a history of Copacabana Beach, taking into account the dialectic between the meanings of life and death of some of its most important symbols. Furthermore, the work analyzes the dynamics embedded in the daily ritual space, the subjective aspects relevant to political and religious practices conducted in a location that propagates the utopian picture of the perfect place. The core question of this research is to find out why this type of event that has little to do with local hedonistic feature can attract attention. The assumptions lead us to believe that Copacabana Beach works as a media of far-reaching impact where the protests by crosses are staged. To support this analysis we use extensive bibliography of authors such as Michel Foucault, Paul Zumthor, Mikhail Bakhtin, Yuri Lotman and Manuel Castells / Esta análise tem por objetivo investigar as manifestações de protesto por meio de cruzes que ocorrem na Praia de Copacabana. Os eventos, organizados a partir da década de 2000, não contam com a presença de manifestantes, destoando da forma tradicional de protesto, que envolve aglomeração de pessoas, faixas com mensagens, palavras de ordem e interrupção de fluxos. ONGs, entidades de classe e grupos de civis são os responsáveis pela organização das manifestações, que sempre conseguem espaços na mídia. Buscaremos as origens desse formato de protesto e sua relação com o espaço onde ele ocorre. Levantaremos também um histórico da Praia de Copacabana, levando em consideração a dialética entre as pulsões de vida e de morte de alguns de seus símbolos mais importantes. Analisaremos ainda a dinâmica de ritual embutida no cotidiano do espaço, os aspectos subjetivos pertinentes às práticas políticas e religiosas exercidas em um local que propaga a imagem utópica de lugar perfeito no mundo todo. A questão central desta investigação é descobrir por que esse tipo de manifestação, que pouco tem a ver com a característica hedonista local, consegue chamar a atenção. As hipóteses nos levam a crer que a Praia de Copacabana é uma mídia de grande potencial e as manifestações por meio de cruzes referem-se a um modelo de encenação. Para embasar esta análise utilizaremos vasta bibliografia de autores como Michel Foucault, Paul Zumthor, Mikhail Bakhtin, Iuri Lotman e Manuel Castells

Esta dissertação consiste em uma abordagem antropológica do movimento antiglobalização a partir de uma etnografia de relatos, registros e análises de três eventos de protesto: as manifestações de novembro de 1999 contra a Organização Mundial do Comércio em Seattle, as manifestações em Praga contra a reunião do Fundo Monetário Internacional e do Banco Mundial em setembro de 2000 e as manifestações contra a reunião do G8 em Gênova, de julho de 2001. O recorte da pesquisa está centrado nas formas da ação de rua, abordadas como práticas significativas a partir de conceitos da antropologia das formas expressivas tais como: performance, drama social e liminaridade. As diferentes táticas de protestos são interpretadas como mediações simbólicas articuladas em relação ao problema do desgaste de formas políticas que marcaram o século precedente. Essa abordagem possibilita tratar com mais recursos o caráter paradoxal do objeto de pesquisa: um \"movimento de movimentos\", cuja definição contém simultaneamente dinâmicas de unificação e diferenciação. / This dissertation consists in an anthropological approach to the anti-globalization movement, starting from an ethnography of stories, registers and analisys of three protest events: the demonstrations of November 1999 against the World Trade Organization in Seattle, the demonstrations in Prague against the International Monetary Fund and World Bank meeting in September 2000, and the demonstrations in against the G8 meeting in Genoa, Italy, in July 2001. The research is centered in the forms of street action, discussed as significative practices through concepts found in the anthropology of expression as: performance, social drama and liminality. The different tactics of protest are interpreted as symbolic mediations articulated in relation to the problem of the fading of political forms as known in the XXth century. This approach offers resources to deal with the paradoxal nature of the research object: a \"movement of movements\" which definition carries simultaneously dynamics of unity and separation.

Social media is increasingly used for social protest, but does online participation advance the aims of social movements, or does it undermine efforts for social change? We explore this question in the present thesis by examining how the use of social media for collective action shapes, and is shaped by, the social psychological concerns of technology users. Adopting a diverse approach in terms of research questions and methodology, we examine how collective action is affected by: (1) features of the digital environment, (2) internet-enabled modes of participation, and (3) digitally-facilitated communities. Our findings demonstrate that group-level representations of the self and salient others are integral to the relationship between digital technology and collective action. Ultimately, we argue that digital technology can act as both a psychological bridge and barrier between disparate groups and issues; in this way it can both facilitate and undermine mobilisation efforts and broader aims for social change.

The purpose of the presented research is to evaluate the presence of the protest paradigm on a non-violent protest during a sport event, using the national anthem and the national flag as its strategy. The study will examine the protest performed by Mahmoud Abdul-Rauf in 1996, Carlos Delgado in 2004 and Colin Kaepernick in 2016. The empirical data is collected from three major newspapers reporting about the protest and a content analysis is performed to evaluate the presence of negative framing. Drawing from previous research an analytical framework is constructed and used to evaluate the material, presenting a number of negative frames present. The study finds that the protest paradigm is present in all three cases, however with some variations. The articles often discuss the strategy of the protest over the claim being made. Characteristics like the individual’s salary or performance, the public opinion of outsiders or the response from the authorities are highlighted. The analysis state that the use of a national symbol is problematic for an activist as this tends to become the main story in articles rather than the claim of the protest.

No description available.