Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-08T19:07:08Z No. of bitstreams: 1 joão.pdf: 2820659 bytes, checksum: 59dcbaff55c6229ac448b5513f35fac4 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:32:09Z (GMT) No. of bitstreams: 1 joão.pdf: 2820659 bytes, checksum: 59dcbaff55c6229ac448b5513f35fac4 (MD5) / Made available in DSpace on 2013-04-18T12:32:09Z (GMT). No. of bitstreams: 1 joão.pdf: 2820659 bytes, checksum: 59dcbaff55c6229ac448b5513f35fac4 (MD5) Previous issue date: 2011-12-16 / Esta dissertação é uma reflexão sobre a história de vida dos indivíduos que aproveitam o lixo como forma de subsistência: os catadores de materiais recicláveis. Foca em particular os catadores de lixo do município do Salvador, Bahia. Aborda a sociabilidade do trabalho e a prática da economia solidária. Discuti o problema da sustentabilidade na atividade econômica, a fragilidade das experiências empreendedoras bem como a observação da produção dos resíduos. Aborda conceitos da sociologia da arte e arte e sociedade no contexto contemporâneo, na dimensão crítica e reflexiva de Joseph Beuys. Cria poéticas visuais que causam impactos e suscitam o diálogo entre dois mundos: o mundo do consumo e o mundo do desperdício. A observação participativa é neste trabalho a base que dá origem a essa pesquisa. Com esta vivência tive a intenção de criar, através da arte, esse questionamento que da origem à reflexão sobre a temática, e, a partir da cooperação com os catadores, “Mostra a Nossa Voz” sobre um problema social. Compreende a importância do artista visual no mundo como agente social que desperte no público o interesse, a reflexão critica sobre os problemas sociais de ordem humanista. / Salvador

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A Tese a seguir, apresentada ao IESP/UERJ como pré-requisito para obtenção do grau de Doutor em Sociologia, demonstra a forma como o estilo pictórico grafite teve sua percepção social subvertida a partir da assimilação de sua estética pelas instituições ditas oficiais do mundo das artes visuais no Brasil, leia-se mercado e locais de culto às obras de arte (galerias e museus, respectivamente), no início do século XXI. A partir da categoria mundo artístico em Becker (1982)1, o trabalho busca dar contornos ao mundo do grafite carioca e a seus pontos de contato com estabelecimentos e sujeitos próprios do mundo oficial das artes plásticas. A hipótese da pesquisa - investigada através de trabalho de campo microssociológico em conformidade com o paradigma de pesquisa social qualitativo inerente à Escola de Chicago (Coulon, 1995)2 - é que desta intercessão ou desses pontos de contato, estreitados nas últimas duas décadas, emergiu um subjetivo processo de legitimação do grafite como atividade artística no Brasil, promovendo o deslocamento de sua ampla percepção social, situada primariamente numa atmosfera que o classificava como poluente (Douglas, 1976) 3 e desviante (Becker, 2009)4, para uma atmosfera de valorização e conseqüente assimilação de sua estética por nichos como a moda, a publicidade, a decoração de ambientes e as políticas públicas de combate à delinqüência e ócio juvenis. / The thesis then presented to IESP/UERJ as a prerequisite for obtaining a Ph.D. in Sociology, demonstrates how the pictorial style graffiti had its social perception subverted since its aesthetic assimilation by institutions called "official" from world of the visual arts in Brazil, basically the market and places of worship to works of art (galleries and museums, respectively), at the beginning of the XXI century. From the category "art world" in Becker (1982), the work seeks to outline the "world of graffiti in Rio de Janeiro" and their points of contact with institutions and individuals own the "official world of the arts. The research hypothesis - investigated through microsociological fieldwork according to qualitative social research paradigm inherent Chicago School (Coulon, 1995) - is from this intercession or these contact points, narrowed in the past two decades, there emerged a subjective process of legitimization of graffiti as artistic activity in Brazil, promoting the displacement of its broad social perception, located primarily in an atmosphere classed as a pollutant (Douglas , 1976) and deviant (Becker, 2009), to an atmosphere of appreciation and consequent assimilation of its aesthetic by niches like fashion, advertising, home decoration and public policies to combat juvenile delinquency and idleness.

Made available in DSpace on 2015-05-14T13:27:11Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1010992 bytes, checksum: 522a8fda5cf74bbcce241a208070f8a3 (MD5) Previous issue date: 2013-07-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Our work approaches one of the central issues of the sociology of art that is related to the challenge of analyzing sociologically works of art without disregarding its intrinsic value. This question leads us to approach the challenges of studying the art recognizing both its critical power (able to promote emancipation of consciences against the iron cage of modern rationality), as its reifying use (that allows and promotes social distinctions based on an aesthetic discourse of naturalization of taste). But how can we perform this operation? How could be possible to think the aesthetic value of the artwork through sociology of art? How to do this without turning it into a self-referential value and not, at the same time, underdetermining it for more general and externalist considerations? These questions led us to direct our perspective about the values problem in sociology of art to its more direct reference in the practice of sociology, the art objects analysis. Considering this, we tried to analyze the barriers and possibilities that some methodological procedures of sociology offer us in the treatment of the artistic object, recognizing it as one of the components of a triad (dynamic and historical) composed of relatively autonomous elements, namely: work of art, author and social structures. To do so, we choose the methodological programs of Howard Becker, Pierre Bourdieu and Antonio Candido as a place from where our problematizations would start, looking, however, not to do a proselytizing analysis of their methods. So, what we seek with this work is not properly to reflect on a "new method most appropriate for the sociology of art, but, on the need of a treatment of aesthetic value by the sociologists of art that consider the nuances and complexity of such a field, not leaving it as sole jurisdiction of aesthetes and academic critics of art that sometimes treat it as autotelic or without references to its ethical content. / Nossa dissertação gira em torno de uma das problemáticas centrais da sociologia da arte que diz respeito ao desafio de se analisar sociologicamente as obras de arte sem que seu valor intrínseco seja perdido. Tal questão remete-nos aos desafios de abordarmos a arte reconhecendo tanto sua potência crítica (capaz de promover uma emancipação das consciências frente à jaula de ferro da racionalidade moderna), quanto seu uso reificador (que permite e promove distinções sociais baseadas em um discurso estético da naturalização do gosto). Mas, como poderíamos realizar essa operação? Como seria possível pensar o valor estético da obra de arte via sociologia da arte? Como fazer isso sem transformá-lo num valor auto-referenciado e nem, ao mesmo tempo, subdeterminá-lo por considerações mais gerais e externalistas? Essas questões nos levaram a direcionar o nosso olhar sobre o problema dos valores na sociologia da arte para a sua referência mais direta na prática da sociologia, ou seja, a análise dos objetos artísticos. Nesse sentido, procuramos analisar os entraves e as possibilidades que alguns procedimentos metodológicos da sociologia nos oferecem no tratamento do objeto artístico, reconhecendo-o como um dos componentes de uma tríade (dinâmica e histórica) composta por elementos relativamente autônomos, quais sejam: obra de arte, autor e estruturas sociais. Para tanto, escolhemos os programas metodológicos de Howard Becker, Pierre Bourdieu e Antonio Candido como lugar de onde partiriam as nossas problematizações, procurando, contudo, não fazer uma análise proselitista de seus métodos. Assim, o que buscamos com este trabalho não é propriamente refletir sobre um novo método mais adequado para a sociologia da arte, e sim, sobre a necessidade de tratamento do valor estético por parte dos sociólogos da arte que considere as nuances e a complexidade de tal domínio, não o deixando como competência exclusiva dos estetas e críticos acadêmicos da arte que, por vezes, o tratam como autotélico ou sem fazer referências ao seu conteúdo ético.

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Alguns aspectos da sociedade contemporÃnea podem ser analisados a partir da leitura peculiar dimensionada no processo de produÃÃo artÃstica. Dessa forma a arte surge nesse contexto histÃrico influenciada pelo consumismo pela sociedade da comunicaÃÃo e pelos mass media, sendo relacionada ao esteticismo e à espetacularizaÃÃo, reconfigurando-a notadamente na produÃÃo voltada para a televisÃo e para o cinema. A arte à expressÃo da vida e objeto de anÃlise das relaÃÃes sociais e, seus pressupostos, remetem a problemÃtica da estÃtica. Nesse sentido a imagem à expressÃo para a compreensÃo dos fenÃmenos, notadamente no que diz respeito ao cinema e seu desenvolvimento ao longo da histÃria, sua linguagem, tÃcnica e estrutura narrativa. Os filmes de Quentin Tarantino redimensionam esteticamente a problemÃtica da violÃncia. Como arte industrial, referÃncia do sÃculo XX que difundiu estilo de vida e comportamento, o cinema desenvolveu linguagem e estrutura prÃprias, tendo no tratamento estÃtico e tÃcnico uma forma de composiÃÃo de sua narrativa. Os filmes analisados tÃm como caracterÃstica comum a sublimaÃÃo do ornamento e da alegoria mediante a explicitaÃÃo da violÃncia existente em algumas situaÃÃes dramÃticas. / Some aspects of contemporary society can be analyzed from the particular reading scaled in the process of artistic production . Thus the art arises in this historical context influenced by consumerism by society communication and the media , being related to aestheticism and spectacle , especially in reconfiguring the production for television and film . Art is expression of life and the object of analysis of social relations and their assumptions , refer the issue of aesthetics. In this sense the image is an expression to understand the phenomena , notably with regard to the film and its development throughout history , its language , technical and narrative structure . The films of Quentin Tarantino resize aesthetically problematic of violence. As industrial art , reference twentieth century who spread lifestyle and behavior , cinema developed its own language and structure , and the technical and aesthetic treatment a form of composition of his narrative . movies analyzed common feature sublimation ornament and allegory by explicit violence existing in some dramatic situations .

This doctoral study is concerned with identifying the determinants of the institutionalisation of art (IoA) in general and institutionalisation of contemporary art (IoCA) in particular. It focuses on the influence of the state and the private sector on economics and politics of arts as artworld in Turkey. The proposed relational framework is based on the current controversial problematisation of social theory in terms of various understandings of modernity and post-modernity. Here, modern art is taken to be based on an orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from a post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of the classical understanding of modernity. Within this scope, this study formulates and operationalises the research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations that define IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study are primarily limited to national level. The research questions are, in general, framed with qualitative research techniques and specifically substantiated with data sources primarily obtained from a self-employed semi-structured survey method complemented by observations and an extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings are undertaken within the scope of relational sociology and using the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and art critics from Turkey. Within this conceptual framework, the roles of the state and the private sector are questioned in terms of the economics and politics of arts, including their cultural couplings. The domain of social relations remaining outside the private sector, specifically the art public and the groups, collectives and initiatives of arts are assessed as the civil domain of arts. Knowledge of the arts and its formal (institutional) and informal relations provide an essential source and play a central role in this study. Within this framework, the art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks are considered as the primary constituting components of the interactive relations of IoA. The findings of this thesis have implications for increasing the knowledge about and practices of IoA and contribute to the development of a framework of research questions that explains the interactive relations of the IoA in Turkey and offers an insight into a growing body of literature on art and includes recommendations for the directions of future research. The proposed relational framework is based on the current controversial problematisation of social theory in terms of modernity and post-modernity understandings. Here, modern art is considered to be based on orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of classical understanding of modernity. Within this scope, this study formulates and operationalises its research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations defining IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study primarily remained at national level. The research questions are framed in general with qualitative research techniques and substantiated specifically with data sources primarily obtained by self-employed semi-structured survey method in addition to observations and extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings made within the scope of relational sociology and with the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and critics of arts from Turkey. Within this conceptual framework, the role of the state and the private sector is questioned in terms of economics and politics of art, including their cultural couplings. The domain of social relations remaining outside of the private sector, specifically the art public and the groups, collectives and initiatives of arts are inquired as the civil domain of arts. Knowledge of arts and its formal (institutional) and informal relations provide an unavoidable source and play a central role in this study. Within this framework, art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks were taken as primary constituting components of the interactive relations of IoA. The findings have implications for knowledge and practices of IoA and contribute in the developing a framework of research questions that explains the interactive relations of the IoA in Turkey and adds an insight to a growing body of literature on art including recommendation for future research directions.

Pour Boltanski et Chiapello (1999), la critique artiste a été récupérée par le capitalisme. La motivation repose aujourd’hui grandement sur certains principes au nom desquels il était critiqué dans les années 60. Pourtant n’existe-t-il pas dans certaines organisations artistiques des grandeurs, valeurs ou pratiques, des modes d’organisation et de vie commune, constituant un ferment critique qui n’a pas été récupéré par le capitalisme contemporain ? Une exploration de type ethnographique a été menée au sein d’Odin Teatret, au Danemark, une organisation où la critique artiste s’élabore et se vit. Nous avons observé et participé au total pendant six mois aux créations et activités de ce groupe hors norme. Dans un premier temps, en nous inspirant de la description dense de Geertz, nous avons constaté que, bien que parfois avec des formes et une acuité particulière, bien des ressorts décrits par Boltanski et Chiapello étaient à l’oeuvre mais que cependant certaines énigmes demeuraient. Abandonnant l’approche cognitive de Geertz pour celle plus réflexive et tournée vers les affects de Stewart, nous avons ensuite entrepris de poursuivre et re-décrire notre expérience en insistant sur le désir, la transformation, la présence, pour chercher une autre manière de faire sens, riche et affective, de l’activité à Odin. Dans un troisième temps, cette expérience à Odin est réfléchie grâce aux concepts de Stiegler. Nous comprenons alors que ce lieu est le théâtre de certains processus différents de l’entreprise capitaliste, fut-elle organisée en réseau. L’individuation psychique, collective et technique, le rôle du désir et d’une certaine économie libidinale, le rôle du non calculable, l’insistance de la recherche non de motivations mais de ce qui fait que la vie mérite d’être vécue… sont autant de facettes qui ne peuvent être que partiellement récupérées par l’économie capitaliste. Par ailleurs la présence, l’ouverture au possible, la créativité, peut-être même l’authenticité, demandent un entraînement long, répété et épuisant (exigeant). A la différence de la standardisation et de la pulsion dans la consommation, il s’agit de mettre son être en mouvement – non pour devenir une forme précise, mais cherchant le mouvement pour lui-même qui ouvre à la présence et à une intensité de vie. Une critique artiste, réinterrogeant ces éléments, peut toujours être présente, même virulente contre un capitalisme qui fait de nous des endormis et des corps stupides / [non communiqué]

Wajdi Mouawad artiste québécois d'origine Libanaise n'accepte pas l'étiquette de « théâtre politique ». Cependant son travail est le reflet d'un théâtre engagé tant par les thèmes qu'il aborde que par son refus de compromis dans le domaine de la création artistique. Mouawad est un artiste qui aime prendre la parole quitte à se faire des ennemis dans la presse, dans l'opinion publique, dans le monde du spectacle, mais aussi parmi les politiciens. Malgré son refus d'appartenir au courant de théâtre politique nous verrons au sein de cette thèse en quoi son art se rapproche de ce cette mouvance artistique dont il est important de (re)définir les contours. De plus, nous verrons de quels messages son théâtre est porteur. Nous tenterons aussi de comprendre les raisons de sa méfiance face à ce courant qui « rebute » plus d'un auteur contemporain. / Wajdi Mouawad is a Lebanese - born Canadian playwright turned actor who refuses the label of political playwright. And yet, his work reflects political theatre by the themes he chooses and by his refusal to make compromises in his art. Mouawad is someone who likes to speak up even if it means making enemies in the press, in the public opinion, in the world of theatre, and also in the world of politics. Despite the fact that he refuses to be labelled à political playwright, in this thesis, my aim is to study to what degree his art resembles political theatre, a genre that needs to be redefined. In addition, I will examine the message his plays relay and the reasons of his distrust towards this genre that doesn't seem to appeal to many a contemporary writer.

The question of the existence of the right art has been solved by many theorists and artists themselves. The first half of the twentieth century was affected by the coming world wars, Nazism and socialism. The establishment of avant-garde was associated with it and new movements tried to confront such society. Along with avant-garde artistic critics appeared, those who more or less influenced artists themselves. Theories of Friedrich Nietzsche, Theodor Adorno, Jean Francois Lyotard, Clement Greenberg and Leo Steinberg are different, but are also consistent with the fundamental thing. That is the desire for a change and accuracy of art. The first two authors think that the right art was already there, but it was destroyed. Others are looking into present and future. In the shadow of modern technologies they try to find something that will be unique and original. These thoughts come to the imagination of unrepresent-able things and abstraction. Abstract Expressionism is a movement, which was originally established in the thirties in the USA. Along with it, the art center moved from Paris to New York. Abstract Expressionists were divided into two groups. One of them, artists such as Jackson Pollock and Willem de Kooning, has been called action painters. The second group, in which Barnett Newman and...

La dégradation ou la destruction volontaire de biens symboliques est un phénomène omniprésent dans l'histoire humaine. Souvent, les œuvres ont été endommagées parce qu’elles incarnaient des divinités, des représentants du pouvoir, un imaginaire spirituel ou social. Avec l’avènement des musées et la transformation du statut des œuvres qu’ils conservent, ce phénomène adopte de nouvelles formes.Les atteintes portées intentionnellement à l’intégrité d’œuvres d’art, lorsqu’elles se produisent dans des musées, sont porteuses d’enjeux spécifiques, que cette thèse a pour objet d’analyser. Aujourd’hui, elles sont généralement désignées par le terme de vandalisme, qui véhicule des représentations qu’il s’agit d’interroger. Cette recherche, prenant appui sur l’analyse d’un corpus de cas de vandalisme perpétrés entre 1970 et 2014 sur des œuvres exposées dans des musées d’art, en Europe et en Amérique du Nord, s’attache, dans une perspective sociologique, à examiner les ressorts de ces actes, mais aussi les diverses réactions qu’ils suscitent. Celles-ci peuvent être saisies dans leur variabilité ; la confrontation de discours et de points de vue recueillis au cours d’entretiens avec divers acteurs concernés par le phénomène contribue à porter au jour des dispositions contrastées à l’égard des œuvres d’art. L’analyse de la réception sociale de ces actions constitue une voie d’accès privilégiée pour appréhender certains mécanismes de disqualification, y compris au sein du champ artistique. Certains de ces gestes sont en effet réalisés dans une optique de création ou de dialogue artistique : ils font ici l’objet d’une attention particulière en raison de ce qu’ils peuvent mettre en lumière du fonctionnement du milieu de l’art. / Willful degradation or destruction of symbolic goods is omnipresent in Human history. Most of the times, works were damaged because they embodied deities, symbols of power, spiritual or social constructs. With the advent of museums and the transformation of the status of the works they preserve, this phenomenon shaped into new forms.Deliberate attacks on the integrity of works of art, when they occur in museums, carry specific issues that this thesis aims to analyze. Today, they are generally referred to as vandalism, which conveys representations that are to be questioned. This research, based on the analysis of a body of cases of vandalism perpetrated between 1970 and 2014 on works exhibited in art museums in Europe and North America, focuses, from a sociological perspective, on examining the causes of these acts as well as the various reactions they generate. The confrontation of discourses and points of view gathered during interviews with various actors concerned by this topic reveals diverse dispositions towards works of art. The analysis of the social reception of these actions constitutes a privileged approach to specific processes of disqualification, including some within the artistic field. Parts of these gestures are meant to initiate an artistic dialogue or even to create; therefore, they will be looked upon with particular attention as they can highlight some of the mechanisms of the artistic scene.

A presente dissertação apresenta uma leitura dos textos de Mário de Andrade publicados no jornal A Gazeta em 1918 e 1919. Partindo do episódio do \'mal-entendido de crítica\', em que o autor e o jornal entram em conflito, empreende-se uma análise que busca esclarecer o contexto de produção dos artigos - que têm como temas a música executada nos teatros e a guerra - em relação à organização dos \'mundos da arte\' no período e à trajetória de Mário de Andrade, ingressante nos círculos intelectuais e artísticos. Trata-se de entender o conflito não somente como acontecimento particular na trajetória das duas partes, mas como representativo sob um ponto de vista social em um momento histórico da formação do campo artístico na cidade, especialmente em relação à música. Conclui-se do conflito que o posicionamento crítico de Mário de Andrade, que formula propostas de mudanças e induz os leitores e ouvintes a refletir sobre o que viam nos palcos, não estava de acordo com o que era esperado para a crítica musical no jornal. / The dissertation presents an analysis of Mário de Andrade\'s texts published in A Gazeta between 1918 and 1919. Starting from the incident of \"a misunderstanding of criticism\", in which writer and newspaper end their relation, I analyze the context in which the articles - that had as subjects the music played in the theaters and the war - were produced, regarding the organization of the \'art worlds\' and the career of Mario de Andrade. I understand this conflict not only as a private episode to both parts, but as a representative of a historical moment as seen from a social standpoint. By analyzing this conflict, I conclude that Mário de Andrade\'s critical position, which includes the proposition of changes and inducts readers and listeners to reflect upon what they see on the stage, differed from what the newspaper expected for its musical criticism.