Made available in DSpace on 2016-04-04T18:22:09Z (GMT). No. of bitstreams: 1 Jessica de Almeida Polito.pdf: 4525548 bytes, checksum: ba3c67e377a1dd12d01f77b58db1689d (MD5) Previous issue date: 2013-12-16 / This paper makes a historical analysis about the formation and restructuring process of the eastern S?o Paulo State, from 17th to the 19th century, by the identification of some networks urban and social that were established because of the economic, political, administrative and technological relevant issues for that period. In this regard, we analyzed only the first two formed and founded nucleus on this region: Mogi Gua?u and Mogi Mirim , which were official connections for this network, frontier and contact zone between S?o Paulo s civilized territory the one known, mapped and where the catholic church made itself present and the sert?o (backcountry) - the territory far away from the sea or a little known area. We will show how the Mogis Binomial worked as a propellant epicenter of urbanity for the sert?o (backcountry) through the urban network that had gradually been forming and becoming larger and complex. The careful analysis to the official documents aiming to, through them, clarify the regional context of land and social disputes, ranking and land control, as well as the and sugarcane plantation impacts on the urban imaginary formation and the influences of each one of these items on the Mogis Urban Network. Therefore, this paper attempted to highlight the dialectical relation between the territory and urban layout, as well as alert for the fact that in the Colonial Brazil, there were also moments in which the control, supervision and land ranking weren t made only by the Catholic Church, sometimes it was possible for the Government and the Church to be responsible for the domain and ranking of these lands. Over collected data, we also relativized the information accounted by Foreign Travelers during the 19th century. We sought to demonstrate that a lot of Brazilian emblematic moments reflected in the Eastern S?o Paulo State, contrasting to the travelers view that the sert?o (backcountry) was an uninformed, unknown, lacking information area, and inhabited by rude and ignorant people . / Este trabalho faz uma an?lise hist?rica sobre o processo de forma??o e reestrutura??o do leste paulista, entre os s?culos XVII e XIX, a partir da identifica??o de algumas das redes urbanas e sociais que se estabeleceram em fun??o das quest?es econ?micas, pol?ticas, administrativas e tecnol?gicas pertinentes ao per?odo. Nesse sentido, detemonos ? an?lise dos dois primeiros n?cleos formados e fundados nessa regi?o: Mogi Gua?u e Mogi Mirim, os quais atuaram como conex?es oficializadas dessa rede, al?m de fronteira e zona de contato entre o territ?rio civilizado paulista aquele j? conhecido, mapeado e onde a Igreja se fazia presente e o sert?o a por??o de terra apartada do mar e pouco conhecida. Buscamos mostrar como o bin?mio das Mogis atuou como um epicentro propulsor de urbanidade para o referido sert?o atrav?s de tal rede urbana que se formou e se tornou gradativamente mais ampla e complexa. A an?lise atenta para as fontes documentais oficiais buscando, atrav?s delas, esclarecer o contexto regional de disputas territoriais e sociais, hierarquiza??o e fiscaliza??o do territ?rio, bem como os impactos da minera??o e da lavoura de cana de a??car na constru??o do imagin?rio urbano e as influ?ncias de cada um desses temas no pr?prio tecido urbano das Mogis. Dessa forma, esta pesquisa buscou ressaltar a rela??o dial?tica existente entre territ?rio e tecido urbano, bem como atentar para o fato de que no Brasil Colonial tamb?m houve momentos em que o controle, fiscaliza??o e hierarquiza??o do territ?rio n?o se deram unicamente em fun??o da atua??o da Igreja Cat?lica, sendo poss?vel Governo e Igreja correr paralelamente pelo dom?nio e hierarquiza??o dessas terras. Frente aos dados levantados, relativizamos tamb?m as informa??es contidas nos relatos elaborados pelos viajantes estrangeiros do s?culo XIX. Procuramos demonstrar que no leste paulista ocorreu os reflexos de v?rios momentos emblem?ticos para o Brasil e S?o Paulo, contrapondo-se ? vis?o desses viajantes de que o sert?o era uma ?rea desinformada, desconhecida, carente de informa??es e habitada por pessoas brutas e ignorantes .

In recent years, urban historians have established that the period from 1560 to 1660 was a key era for London’s development from a relatively small European urban centre into a large dynamic global capital. This dissertation attempts to intervene in London scholarship by drawing attention to the economic, political, religious and – most significantly – cultural importance of clothing in the city in this period. Using material, visual, literary and archival sources, it explores the ways clothing contributed to the development of early modern London and, in turn, how London’s rapid growth changed the making, wearing, and meaning of clothing. This dissertation places material evidence at the fore using extant objects from museum collections. It also employs the new methodology of reconstruction to explore craft, ingenuity, and emotional self-expression in dress. As clothing infused economic and social life, it draws upon on a wide range of evidence, from London guild records, to portraits, travel accounts, personal letters, diaries and account books, plays, sermons and poems. With a focus on urban experience, this dissertation discusses not only elite luxury consumption, but also investigates the wardrobes of guildsmen, immigrant craftspeople, apprentices and maids – asking what they wore, what they thought about what they were wearing, and how they used clothing to navigate through the city during this time of rapid change. A chapter on the ‘London Look’ shows how inhabitants and visitors documented the visual and material styles of the city. Exploring the collaborative processes by which clothing was made, worn and appreciated by craftspeople and consumers, a chapter on making and buying clothing demonstrates how clothes were made and charts the emergence of a new consumer culture. Existing scholarship on sumptuary laws is challenged in a chapter that demonstrates how laws were enforced in the city while also integrating extant objects into the discussion for the first time. Finally, using a sample of London wills, the dissertation shows how Londoners owned, bequeathed and inherited clothing, and imbued it with emotional meaning. In sum, this dissertation aims to integrate scholarship on early modern London with material culture studies, and to promote the new methodology of reconstruction for historians. In revealing how London was conceived during a time of rapid change, clothing can be used as a lens through which to explore wider discourse about a city that by 1657 was being described as ‘Londinopolis.’ Clothing helped to make London into a wealthy, dynamic, and diverse urban centre, and these changes dramatically shaped the way clothing was made and appreciated.

Made available in DSpace on 2016-04-27T19:32:05Z (GMT). No. of bitstreams: 1 Paula Ribeiro.pdf: 26132210 bytes, checksum: c1c3dfcd3ddf352dcd4a03de057261e3 (MD5) Previous issue date: 2008-12-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research is an interdisciplinary analysis about the area of Praça Onze, in downtown Rio de Janeiro, during the decades of 1920 and 1980. I seek to analyse Praça Onze in the context of the city of Rio de Janeiro as a dynamic space characterised by the presence of different ethnic groups composed of social actors who live in the place and interact with it. In this research, I especially focus on the way of life of Jewish immigrants and their descendants, taking into the social experiences that were developed in the context of Praça Onze, and the resulting territoriality of their original culture.I give special attention to the ways of constitution and representation of Praça Onze brought about by narrated memory and other documents that point out the jews struggle towards culture and territorial preservation in the city. The guiding line of this research is driven by aspects of the culture, the way of life and the social relations generated within that space by the immigrants established there. My working aim is that the urban experience developed in its various dimensions at Praça Onze during the 1920 and 1980 decades propitiated the creation of a territoriality that remains as a group memory until the present. The focus of the analysis is the way in which this territoriality was delineated and the way in which the immigrants and their descendents relate in and with the city.Therefore, beyond the organizational ways and the physical dimensions, the analysis clarifies the processes that were developed and how an intense social and commercial network was shaped at Praça Onze / Esta pesquisa é uma análise interdisciplinar sobre a região da Praça Onze, no centro da cidade do Rio de Janeiro, durante os anos de 1920 a 1980. Procuro analisar a Praça Onze, no contexto da cidade do Rio de Janeiro, como um espaço dinâmico, marcado pela presença de diferentes grupos étnicos e composto de sujeitos sociais que vivem o lugar e com ele interagem. Nesta pesquisa me debruço especialmente sobre os modos de vida de imigrantes judeus e seus descendentes, considerando as experiências sociais que desenvolveram no contexto da Praça Onze, constituindo uma territorialidade própria, com marcas de sua cultura de origem. Dou especial atenção aos modos de constituição e de representação da Praça Onze trazidos pela memória narrada e por outros documentos, os quais apontam para formas de luta visando à preservação de sua cultura e luta por espaço na cidade.Aspectos da cultura, da vida e das relações sociais engendradas naquele lugar pelos imigrantes que ali se estabeleceram é o fio condutor desta pesquisa. A minha hipótese de trabalho é a de que a experiência urbana desenvolvida na Praça Onze durante os anos de 1920 a 1980, em suas várias dimensões, propiciou a formação dessa territorialidade que se mantém como memória do grupo até os dias de hoje. A forma como essa territorialidade se delineou e a maneira como os imigrantes e seus descendentes se relacionam na e com a cidade tornam-se objetos de análise.Para além das formas de organização e da dimensão física do espaço, nos interessam, portanto, os processos que ali se desenvolveram e como se configurou uma intensa rede de relações sociais e comerciais

A presente dissertação de mestrado teve o propósito de pesquisar em que medida a estética multifacetada do rap pode ser utilizada nos processos de formação de adolescentes pobres e moradores das periferias, em sua maioria, afrodescendentes. Ao identificar no rap um potencial de ruptura e de resistência frente às formas atuais de discriminação racial - tanto em seus aspectos musicais, quanto narrativos - foram realizadas oficinas de música com ênfase no rap, envolvendo jovens entre treze e quinze anos. As oficinas foram realizadas entre os anos de 2011 e 2013 em dois momentos distintos. O primeiro ocorreu na ONG Casa do Zezinho, situada no Capão Redondo, zona sul da cidade de São Paulo; o segundo foi realizado na Escola Municipal de Ensino Fundamental Amorim Lima, situada no Butantã, zona oeste da mesma cidade. As oficinas eram destinadas à promoção de atividades musicais, lúdicas e intelectuais, fundamentadas na estética do rap, tais como: improvisação musical livre com instrumentos de percussão, audições de rap e gêneros musicais de vanguarda, entre outras. Inicialmente, o objetivo da pesquisa norteou-se pela sensibilização de uma escuta musical que fosse propiciadora de uma ruptura com os modos de percepção homogeneizadores da indústria cultural. Inicialmente, a fundamentação teórica baseou-se nos autores Theodor W. Adorno, Friedrich Nietzsche e José Miguel Wisnik, entre outros. Posteriormente, foi necessário recorrer aos autores Stuart Hall, Gilles Lipovetsky, Oswaldo Giacoia, Paulo Arantes, Michel Maffesoli, Philippe Jeammet, Mônica do Amaral e Marc Lamont Hill na perspectiva de compreender o sentido trágico na vida dos jovens e de como as tensões sociais advindas com a pós-modernidade incidiam em seus comportamentos, interesses e escolhas. Os resultados obtidos nesses dois momentos distintos subsidiaram as análises que desenvolvi nessa dissertação. / This study aimed at searching to what extent the multifaceted aesthetics of rap can be used in the processual development of impecunious teenagers (most of them, African descents), living in the outskirts of a big city. Music workshops concerning rap were held involving teenagers aged thirteen to fifteen. An arising actual feeling of identification towards both rupture and resistance in face of diverse kinds of racial discrimination was detected and interventions took place from 2011 to 2013, divided into two stages. The first one occurred at the NGO Casa do Zezinho, in Capão Redondo, southern part of the city of São Paulo; the second one was held at Municipal Elementary School Amorim Lima, in Butantã, west zone of the same city. The workshops consisted of promoting musical, recreational and intellectual activities founded on the aesthetics of rap, such as: free musical improvisation using percussion instruments, listening to rap and other various genres, including avand-garde songs. Initially the goal of the research was guided by the awareness of some listening promoting means of opposition to ways of perception homogeneized by the cultural industry. Up to then, the theoretical foundation was based on Theodor W. Adorno, Friedrich Nietzche, José Miguel Wisnik and others. Subsequently, works of Stuart Hall, Gilles Lipovetsky, Oswaldo Giacoia, Paulo Arantes, Michel Maffesoli, Philippe Jeammet, Mônica do Amaral e Marc Lamont Hill were analysed in order to understand the tragic sense of life for these teenagers and making them recognize the range of the influence of post modern social tensions upon their behavior, interests and choices. The outcomes provided by the two phases subsidized the analyses developed along the research.

O presente trabalho apresenta uma reflexão sobre os espaços públicos ante uma incipiente mudança de paradigma na atuação dos novíssimos atores urbanos, desde a virada do século XX para o século XXI. Estes foram estudados dentro do processo de acumulação capitalista e da construção histórico-estrutural brasileira, considerando os diferentes atores que interagem na produção das cidades. O estudo se desenvolve por meio de uma perspectiva histórica e do estudo de três coletivos urbanos que assomaram na cidade de São Paulo, observando-se, de início, as suas diferentes localizações e a defesa do \"direito à cidade\". São eles, o \"A Batata Precisa de Você\", o \"Imargem\" e o \"Arrua\". Essa nova conjuntura democrática é ainda avaliada por meio da prática no campo da arquitetura e urbanismo, que se configura como um possível espaço para novas experiências na atuação desses profissionais, dentro do discurso da crítica social e cultural sobre a cidade. / This study presents a reflection about public spaces at the head of an incipient paradigm shift in the practice of the newest urban actors at the turn of the 20th century. These were analysed over the process of capitalist accumulation and the historical-structural brasilian development, considering the different actors that interact in the production of the cities. The research develops through a historical perspective and analyzes three activist urban groups that emerged in the city of São Paulo, observing, as a beginning, their diferent locations and the defense of the \"right to the city\" as an issue. They are, \"A Batata Precisa de Você\", the \"Imargem\" and the \"Arrua\". This new democratic context is still valuated through practice in the field of architecture and urbanism, that appears to be a new performance space to develop new experiences in the work of these professionals, placed within the social and cultural criticism about the city.

A presente dissertação de mestrado teve o propósito de pesquisar em que medida a estética multifacetada do rap pode ser utilizada nos processos de formação de adolescentes pobres e moradores das periferias, em sua maioria, afrodescendentes. Ao identificar no rap um potencial de ruptura e de resistência frente às formas atuais de discriminação racial - tanto em seus aspectos musicais, quanto narrativos - foram realizadas oficinas de música com ênfase no rap, envolvendo jovens entre treze e quinze anos. As oficinas foram realizadas entre os anos de 2011 e 2013 em dois momentos distintos. O primeiro ocorreu na ONG Casa do Zezinho, situada no Capão Redondo, zona sul da cidade de São Paulo; o segundo foi realizado na Escola Municipal de Ensino Fundamental Amorim Lima, situada no Butantã, zona oeste da mesma cidade. As oficinas eram destinadas à promoção de atividades musicais, lúdicas e intelectuais, fundamentadas na estética do rap, tais como: improvisação musical livre com instrumentos de percussão, audições de rap e gêneros musicais de vanguarda, entre outras. Inicialmente, o objetivo da pesquisa norteou-se pela sensibilização de uma escuta musical que fosse propiciadora de uma ruptura com os modos de percepção homogeneizadores da indústria cultural. Inicialmente, a fundamentação teórica baseou-se nos autores Theodor W. Adorno, Friedrich Nietzsche e José Miguel Wisnik, entre outros. Posteriormente, foi necessário recorrer aos autores Stuart Hall, Gilles Lipovetsky, Oswaldo Giacoia, Paulo Arantes, Michel Maffesoli, Philippe Jeammet, Mônica do Amaral e Marc Lamont Hill na perspectiva de compreender o sentido trágico na vida dos jovens e de como as tensões sociais advindas com a pós-modernidade incidiam em seus comportamentos, interesses e escolhas. Os resultados obtidos nesses dois momentos distintos subsidiaram as análises que desenvolvi nessa dissertação. / This study aimed at searching to what extent the multifaceted aesthetics of rap can be used in the processual development of impecunious teenagers (most of them, African descents), living in the outskirts of a big city. Music workshops concerning rap were held involving teenagers aged thirteen to fifteen. An arising actual feeling of identification towards both rupture and resistance in face of diverse kinds of racial discrimination was detected and interventions took place from 2011 to 2013, divided into two stages. The first one occurred at the NGO Casa do Zezinho, in Capão Redondo, southern part of the city of São Paulo; the second one was held at Municipal Elementary School Amorim Lima, in Butantã, west zone of the same city. The workshops consisted of promoting musical, recreational and intellectual activities founded on the aesthetics of rap, such as: free musical improvisation using percussion instruments, listening to rap and other various genres, including avand-garde songs. Initially the goal of the research was guided by the awareness of some listening promoting means of opposition to ways of perception homogeneized by the cultural industry. Up to then, the theoretical foundation was based on Theodor W. Adorno, Friedrich Nietzche, José Miguel Wisnik and others. Subsequently, works of Stuart Hall, Gilles Lipovetsky, Oswaldo Giacoia, Paulo Arantes, Michel Maffesoli, Philippe Jeammet, Mônica do Amaral e Marc Lamont Hill were analysed in order to understand the tragic sense of life for these teenagers and making them recognize the range of the influence of post modern social tensions upon their behavior, interests and choices. The outcomes provided by the two phases subsidized the analyses developed along the research.

La creación del Centro Cultural de Arte Urbano como espacio público integrador en el distrito de Barranco nace a partir de encontrar en el artista, un usuario especifico y protestante con ideas fuertes, el cual busca siempre intervenir y comunicar algo en la ciudad. Este usuario y su ideología, llegan a apoderarse de la propuesta arquitectónica mediante espacios que representen su diálogo y se adapten a sus necesidades. En medio de ambientes adaptados, con infraestructura precaria para la cultura, un contexto vulnerable y una falta de equilibrio en uno de los distritos más pequeños de la capital, nace una propuesta que representa un cambio y una mejora para la zona A-1 de Barranco. Sin embargo, a pesar de tener un objetivo inmediato y local, el proyecto busca ser un hito para el distrito y un punto turístico para el mercado artístico urbano que representa Perú para Latinoamérica. Es por ello, que busca una arquitectura abierta al contexto, visualmente accesible y diferencial, dentro de la cual se busque la relación interior-exterior y parte-todo. Es decir, una arquitectura de espacios intermedios que responderá ante las problemáticas identificadas, con el fin de lograr ambientes donde el movimiento de la cultura urbana no pierda su esencia al llevar su proceso entre cuatro paredes. / The Urban Art Cultural Center as an inclusive public space in the Barranco district was born from finding in the artist, a specific and protestant user with strong ideas, who always seeks to intervene and communicate something in the city. This user and his ideology, come to seize the architectural proposal through spaces that represent their dialogue and adapt to their needs. In the midst of adapted environments, with a precarious infrastructure for culture, a vulnerable context, and an imbalance in one of the smallest neighborhoods of the capital, the proposal represents a change and an improvement for the A-1 area of ​​Barranco. However, despite having an immediate and local objective, it seeks to be an important point for the district and the urban art market in Latin America. The project looks for an architecture open to the context, visually accessible and differential, within which the interior-exterior and part-whole relationship is sought. In other words, an architecture of in-between spaces that will respond to the problems identified and achieve environments where the movement of urban culture does not lose its essence by taking its process within four walls. / Tesis

Made available in DSpace on 2016-04-27T19:31:27Z (GMT). No. of bitstreams: 1 HIS - Bras Ciro Gallotta.pdf: 32087937 bytes, checksum: 6132be75f5ef01f2b330d3ef67e6f425 (MD5) Previous issue date: 2006-10-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis analyzes the relation among the press, humor and social life in São Paulo between the years 1839 and 1876. The central basis for this study is the first steps in gathering a humoristic local press, identified as the first humoristic periodic, which is aimed to draw attention dramatically to lack of style and humoristic narratives in the ongoing general process of settlement and affirmation of the called periodismo paulista , i.e paulista periodism. As a result from this ongoing process and social life, it aims also to creep up from behing the reader and reflect upon the concrete conversation between the theme area immersion in the periodic and the urban life changes at that certain point in life. Analyzing the publications and the narrative and language strategy development used by writers, journalists and cartoonists such as Angelo Agostini, Eduardo Langlois and Nicolau Hauscar de Vergara, it is clearly that by doing so the experimentation in different humor styles began from heart of the political Sunday journalism, After the releasing of Diabo Coxo and as well Cabrião, the newspaper Sunday pages show a more intense social perception of the urban life, emploring the transition and changing moment from a small ville into the café metropolis notwithstanding the impact of new technology shown mainly by the opening of the Estrada de Ferro São Paulo, i.e, São Paulo Railway. Nevertheless, the Coaracy and the Polichinelo publications are presented as a more agile narrative, following the trend of rhythms and movements which the city has been goin through. The first urban improvemnet masterpieces are ironised. Moreover, a more relaxing atmosphere regarding new modern technology is also noticed. The political confrontations and debates at present / Esta tese analisa relações entre imprensa, humor e vida social em São Paulo entre os anos 1839 e 1876. O estudo tem como eixo central o processo inicial de formação da imprensa de humor paulista, identifica como se constituíram os primeiros periódicos humorísticos,e busca problematizar a emergência de estilos e narrativas de humor em meio a processo geral de constituição e afirmação do periodismo paulista . No cruzamento entre o fazer-se dessa imprensa e a vida social, procura surpreender e refletir sobre o diálogo ativo entre a construção de campos temáticos nos periódicos e as transformações da vida urbana naquela conjuntura. Analisando as publicações e a constituição de narrativas e estratégias de linguagem produzidas por cronistas, jornalistas e por caricaturistas como Angelo Agostini, Eduardo Langlois e Nicolau Hauscar de Vergara, evidenciou-se caminhos que, do interior do jornalismo político e domingueiro, abriam-se a experimentação dos gêneros de humor. Com a publicação do Diabo Coxo e o Cabrião, as folhas domingueiras sinalizam para uma percepção social mais intensa do viver urbano, explorando o momento de transição e transformação de vila tropeira para metrópole do café e os impactos de novas tecnologias simbolizadas principalmente pela inauguração da Estrada de Ferro São Paulo Railway. Já as publicações de o Coaracy e o Polichinelo, apresentam-se uma narrativa mais ágil, bem agosto dos novos ritmos que a cidade vivencia. Ironizam-se as primeiras obras de benfeitorias urbanas. Mostra-se também uma cidade mais a vontade com as novidades do mundo moderno. Valorizam-se os debates e combates políticos do momento

Made available in DSpace on 2016-04-27T19:32:33Z (GMT). No. of bitstreams: 1 Augusto Cesar Mauricio Borges.pdf: 978601 bytes, checksum: c7fb5b182d2c14d01b4de78468c6d96c (MD5) Previous issue date: 2009-08-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research studies the phenomenon of political satire in the city of São Paulo's Belle Époque, specifically the chronic character of the irreverent comedy Juó Bananére, pseudonym of Alexander R. M. Machado, on the then President of the Republic Marshal Hermes da Fonseca and bureaucracy that tied the body of political support. Our study indicated that part of the so-called small press played a significant role in the development and dissemination of the contents of humorous political critique in the First Republic. As part of this process, the political satire of Juó Bananére not only fulfilled its role of social entertainment, but also has a critical function of load positioning and policy intervention. Due the particular historical juncture, the main issue of our work talkect to materials published by the periodic watching the harmony of all these satires with the political-matters agenda of the seminary O Pirralho and the oligarchies of São Paulo in the São Paulo defeat in the elections of 1910. Looking at the political satire from the years 1911 to 1915, under the administration of Hermes da Fonseca, this work drag the relevant debating about history, city, politics and humor discussing the work of Alexander R. M. Machado at the seminary O Pirralho / Esta pesquisa estuda o fenômeno da sátira política na cidade de São Paulo da Belle Epoque, mais especificamente a crônica irreverente do personagem cômico Juó Bananére, pseudônimo de Alexandre R. M. Machado, sobre o então Presidente da República Marechal Hermes da Fonseca e a burocracia que compunha seu corpo político de sustentação. Nosso estudo indicou que parte da chamada pequena imprensa desempenhou um papel significativo no desenvolvimento e na divulgação do conteúdo humorístico da crítica política na Primeira República. Como parte integrante desse processo, a sátira política de Juó Bananére cumpriu não só seu papel de entretenimento social como também adquiriu uma função crítica carregada de posicionamento e intervenção política. Em virtude da conjuntura histórica específica, a problemática central de nosso trabalho dialogou com materiais publicados no periódico observando a consonância dessas sátiras com a agenda político-programática do semanário O Pirralho e das oligarquias de São Paulo no contexto da derrota paulista nas eleições de 1910. Analisando a sátira política entre os anos de 1911 a 1915, período em que vige a administração de Hermes da Fonseca, este trabalho levantou as discussões pertinentes sobre a relação História, Cidade, Política e Humor discutindo a obra de Alexandre R. M. Machado no semanário O Pirralho

本論文視莎士比亞的《量罪記》為詹姆士王朝城市喜劇。這齣喜劇勾勒出城市的郊區下流地圖誌。過去的批評家在討論此劇時，要不將此劇視為迎接英國新國王詹姆士一世的奉承之作，就是將此劇解讀成對新來統治者的政治批評。本論文試圖超越過去論述的簡單二元對立，以城市喜劇的角度重新切入《量罪記》，分析莎士比亞如何透過戲劇再現城市下流文化，以及此舞台再現如何連結台下底層市民，形成大眾展演政治。 論文第一部分分析《量罪記》與城市下流文化的再現。本劇將維也納城作為「崩壞之身」拉開序幕，此隱喻一方面沿襲自文藝復興時期的身體政治學，一方面又挑戰了它，因為此「崩壞之身」直到劇終仍然維持其「病態」。本劇讓觀眾體驗漫布於城市各個角落的下流文化，包括郊區的妓院群與監獄中的娼寮。本劇表面上似乎在鞏固文森提歐公爵對城市空間的掌控與管理權，另一方面卻又透過「下流」角色的身影，提供觀眾另類的閱讀，揭露城市下流文化的延續與崛起。 論文第二部分探索詹姆士王朝的城市慶典與本劇饒富興味的最後一幕之間的關係。最後一幕中，公爵的皇家入城儀式與詹姆士一世的王室慶典有許多相似之處。城市慶典許久以來便是君王用來展示自我權力的工具之一，詹姆士一世對於自己的王室慶典之抗拒，卻流露出他對公眾討論的恐懼與對自我名譽的管理。他對公眾形象的細心掌控也被再現於此劇的最後一幕中。不過，即使在這最後一幕，嫖客盧求不僅讓公爵淪為眾人笑柄，毀了他的聲譽，更勾起觀眾對城市下流文化之記憶。因此，觀眾目睹的反而不是一個可敬王者的回歸，反而是一個淫亂嫖客之崛起。 論文第三部分將本劇放置在原本的文化、社會與歷史背景中 。《量罪記》屬於1603年後冒出的一波「偽裝國王劇」，這一波戲劇風潮呼應伊莉莎白一世去世、詹姆士一世繼位的關鍵歷史時刻，反映出的是當時人民對於新王來臨產生的焦慮。《量罪記》特別之處在於呈現了城市「下流」人物對於未來生存與否的焦慮。另外，本劇亦與「假國王」的戲劇傳統相關。在此戲劇傳統中，劇作家會透過舞台上的「假國王」來做政治批評，展示適當的統治方式。本論文認為，本劇中影射詹姆士一世的公爵角色也可被視為一個舞台上的「假國王」，崛起的反而是城市「下流」人物。本劇透過丑角盧求邀請觀眾大方嘲弄公爵並且挑戰他早先建立起的權威。最後，盧求成為舞台上的底層大眾化身，透過情色的笑話與不馴的笑聲與台下的觀眾形成「下流」社群，共享大眾歡樂。正是這大眾愉悅的力量，讓此劇不再替統治者的權威背書，反而擁抱了底層下流市民。 / This thesis sees Shakespeare’s Measure for Measure as a Jacobean city comedy that maps an urban vulgar culture. Critics in the past often focused on whether the play should be read as a flattery to the new king, James I, or as a political criticism of the ruler. The thesis goes beyond the simple dichotomy offered by criticism in the past. It reads Measure for Measure as a city comedy and analyzes Shakespeare’s dramatic representation of the urban vulgar culture, which connects the lowlife figures onstage with the audiences offstage, ultimately forming a popular performative politics. The first part of the thesis analyzes Measure for Measure and its representation of an urban vulgar culture. Vienna in the play is represented as a “vile body,” which both confirms and unsettles the early modern body politic, since the vile body stays “ill” till the very end of the play. The play invites the audience to experience how this vulgar culture permeates every part of the city, including the houses of prostitution in the suburbs and a “bawdyhouse” in the prison. While the play seems to confirm Duke Vincentio’s control and regulation of the city, the bawdy figures provide us with an alternative reading of the play, revealing the survival and even the rise of the urban vulgar culture The second part of the thesis relates Jacobean civic pageantry to the play’s intriguing final scene, in which the Duke stages a royal entry that is not unlike James I’s civic pageantry. While civic pageantries had long been used by monarchs to demonstrate their power, James I’s resistance to participating in his own pageantry revealed his fear of public discourses and his careful management of reputation and honor. This careful management of public image is also represented in the play’s final scene. However, even during the final scene, Lucio not only turns the Duke into a mockable figure but also ruins the Duke’s reputation and honor. His stage presence also evokes a suburban vulgar culture. Thus, the audience does not witness the return of a respectable ruler, but the rise of a lascivious whoremaster. The third part of the thesis puts the play into its cultural, social, and historical backgrounds. Measure for Measure belonged to the wave of disguised ruler plays after 1603. The wave of drama was produced during the critical moment when Elizabeth I died and James I came to the throne. It reflected a popular anxiety of the arrival of the new king. Measure for Measure is unique in its dramatization of suburban bawdy figure’s anxiety of their future state. In addition, the play was also closely connected to the “mock king tradition,” in which the dramatists staged a mock king on the stage in order to show the proper way to rule. The thesis argues that Duke Vincentio, who resembled James I in many aspects, could possibly stand for a “mock king.” What the play actually shows is the rise of the suburban vulgar culture. The clown Lucio invites the audience to laugh at the Duke and challenges his authority established in earlier scenes. Lucio eventually stands for the general lowlife public on the stage, forming a “bawdy” community with the audience through bawdy jokes and unruly laughter. It is exactly this power of popular mirth that turns the play from an endorsement of the ruler’s authority to a celebration of the lowlife citizens.