Made available in DSpace on 2014-12-17T14:20:25Z (GMT). No. of bitstreams: 1
JeanHC_TESE.pdf: 2940316 bytes, checksum: 06a834295c72d76ffa5dd73544c6a829 (MD5)
Previous issue date: 2012-03-27 / The present study aimed to understand how and to what extent the electronic forr?, currently hegemonic in the music market in the state of Rio Grande do Norte, establishes and maintains relations of domination in the social contexts in which it is produced, transmitted and received. Based, in significant form-content, on the writings of the first generation of theorists of the so-called Frankfurt School (Critical Theory), particularly with Theodor W. Adorno, and systematically using the contributions of the Cultural Studies (from the Centre for Contemporary Cultural Studies of Birmingham) and of the sociology of Pierre Bourdieu, this study aimed to perform, in the fertile intersection of these references, a critical possibility of interpretation of the electronic forr? predominantly spread in the state of Rio Grande do Norte. To this end, aiming at a better apprehension of the so-called capital circuits/culture circuits , this study resulted from a qualitative investment of research, based on structured interviews with musicians, entrepreneurs of the sector and music consumers, as well as on the analysis of the themes contained in the official discography of the electronic forr? band called Garota Safada (Shameless Girl). As a general empirical conclusion, it was possible to infer that far from the significant presence of domination or mere prevalence of oppositions, there is a relational pluralism of forms of domination and ways of resistances present in the production and consumption of electronic forr?, regardless of gender, age, income, education or place of residence. However, the artifices of the cultural industry has been shown to be efficient: from large-scale businessmen to small producers enabled by the so-called open markets . The currentness of the concept of cultural industry is based on the idea that its products are offered systematically (the systematic insistence of everything to everyone) and on the notion that its production primarily meets the administrative criteria of control over the effects on the receiver (capacity of prescription of desires). Thus, the Adornian reflection on the pseudo-individualization leads to the inference that even in some of the most apparent ways of negotiation and/or refusal regarding the consumption of forr?, certain behaviors of the cultural industry still prevail both in the very (re)interpretation of the forr? and in the choice of other music genres also standardized, rationalized and massified. Therefore, despite the absence of cause-effect relation and the recognition of the popular capacity of re-elaboration and contestation of the media consumption, some world views prevailing in relation to the electronic forr? establish or, at least, support some hegemonic ideologies, especially those concerning the life style, consumption and genre relations (fun by all means). Therefore, due the massification of certain songs, some ways of dissemination of values, beliefs and feelings are potentially experienced from the electronic forr?. So, it is presumable that in the current advance of the process of semiformation (Halbbildung), the habitus of a part of the youth from the state of Rio Grande do Norte reinforces and is reinforced by the centrality of the trinomial fun, love and sex present in the songs, emphasized in some constructive practices of sense and in certain flows of social significance / O presente estudo objetivou compreender em que medida e como o forr? eletr?nico atualmente hegem?nico no mercado musical norte-rio-grandense serve para estabelecer e sustentar rela??es de domina??o nos contextos sociais em que ? produzido, transmitido e recebido. Ancorado, em significativa forma-conte?do, nos escritos da primeira gera??o de pensadores que se convencionou chamar Escola de Frankfurt (Teoria Cr?tica), particularmente em Theodor W. Adorno, e recorrendo sistematicamente ?s contribui??es dos Estudos Culturais (origin?rios do Centre for Contemporary Cultural Studies de Birmingham) e da sociologia de Pierre Bourdieu, buscou-se realizar no fecundo cruzamento desses referenciais uma possibilidade cr?tica de leitura do forr? eletr?nico dominantemente difundido no RN. Para tanto, objetivando uma melhor apreens?o dos chamados circuitos de capital/circuitos de cultura , o estudo em quest?o foi fruto de um investimento qualitativo de pesquisa, fundado na realiza??o de entrevistas estruturadas com m?sicos, empres?rios do setor e consumidores musicais, al?m de an?lise das tem?ticas contidas na discografia oficial da banda de forr? eletr?nico Garota Safada . Como infer?ncia emp?rica geral do estudo, foi poss?vel compreender que, longe de substancialmente existir domina??o ou simplesmente imperar resist?ncias, h? uma pluralidade relacional de formas de domina??o e maneiras de resist?ncias habit?veis na produ??o e no consumo do forr? eletr?nico, independentemente de sexo, idade, renda, educa??o ou local de resid?ncia. Todavia, as artimanhas da ind?stria cultural t?m sido potentes: dos grandes empres?rios aos pequenos produtores possibilitados pelos chamados mercados abertos . Prontamente, a atualidade do conceito de ind?stria cultural reside na ideia de que seus produtos s?o oferecidos em sistema (o ass?dio sistem?tico de tudo para todos) e a no??o de que a sua produ??o obedece prioritariamente a crit?rios administrativos de controle sobre os efeitos no receptor (capacidade de prescri??o de desejos). Logo, a reflex?o adorniana acerca da pseudo-individua??o conduz a pensar que mesmo em algumas formas mais aparentes de negocia??o e/ou recusa no consumo do forr?, ainda assim vigoram determinados comandos da ind?stria cultural, ora pontualmente na pr?pria (re)leitura do forr?, ora na escolha de outros g?neros musicais tamb?m estandardizados, racionalizados e massificados. Assim, mesmo n?o havendo nenhuma rela??o de causa-efeito e mesmo reconhecendo-se vigorosamente a capacidade popular de reelabora??o e contesta??o do consumo midi?tico, algumas vis?es de mundo vigentes no forr? eletr?nico terminam por, se n?o estabelecerem, pelo menos sustentarem algumas ideologias j? hegem?nicas, sobretudo aquelas ligadas ?s quest?es de g?nero, consumo e estilo de vida (divers?o a todo custo). Por conseguinte, devido ? massifica??o de determinadas m?sicas, s?o potencialmente vivificados alguns modos de dissemina??o de valores, cren?as e sentimentos a partir do forr? eletr?nico. ? presum?vel, ent?o, que no atual avan?o do processo de semiforma??o (Halbbildung), o habitus de uma parte da juventude potiguar seja refor?ador e refor?ado pela centralidade do trin?mio divers?o, amor e sexo presente nas can??es, sobressaindo-se em algumas pr?ticas construtivas de sentido e em determinados fluxos de significa??o social
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.ufrn.br:123456789/13798 |
| Date | 27 March 2012 |
| Creators | Costa, Jean Henrique |
| Contributors | CPF:03897001853, http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4787705J5, Oliveira, Jo?o Emanuel Evangelista de, CPF:20027214400, http://buscatextual.cnpq.br/buscatextual/index.jsp, Chianca, Luciana de Oliveira, CPF:78883520491, http://lattes.cnpq.br/4264064005369443, Oliveira, Christian Dennys Monteiro de, CPF:09223548802, http://lattes.cnpq.br/6672867433887720, Trotta, Felipe da Costa, CPF:00997287705, http://lattes.cnpq.br/5226357022961460, Pontes, Beatriz Maria Soares |
| Publisher | Universidade Federal do Rio Grande do Norte, Programa de P?s-Gradua??o em Ci?ncias Sociais, UFRN, BR, Desenvolvimento Regional; Cultura e Representa??es |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/doctoralThesis |
| Format | application/pdf |
| Source | reponame:Repositório Institucional da UFRN, instname:Universidade Federal do Rio Grande do Norte, instacron:UFRN |
| Rights | info:eu-repo/semantics/openAccess |
Page generated in 0.0023 seconds