Repositório RCAAP

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Conselho Nacional de Desenvolvimento Científico e Tecnológico

In the Shadow of Incarceration is an indicative title for this thesis. Shadows pursue, hide, threaten, dominate, and sometimes \"haunt\". Shadows are also vehicles that carry magnificent psychological images: they do not enjoy a good reputation, are always associated with that which is misleading, dangerous, threatening. In general, they carry negative, strange, and invasive meanings. They are always shrouded in suspicion and fear. Shadows are mysterious and seductive, dark and disturbing. They do not inspire confidence and are not good company. To reflect on the richness of the metaphors and the imaginary stories about shadows brought me inspiration for writing the thesis. What other image could be as appropriate to represent (or misrepresent) the feelings that a person comes to experience from the incarceration of a close relative? Having a family member in prison is like being constantly under a shadow: a damned and cursed shadow that stalks and does not withdraw. It is in this sense that this research paper decided to study the prison environment, made up of the families who reside near the prisons to maintain the bond with the imprisoned relative and thus share the prison (experience). Furthermore, this study contributes to the understanding of stolen childhoods, whose children become victims and perpetrators in the process of family incarceration. It finishes by showing that imprisonment does not only happen in the actual prison facility, but also, and especially, in the subjective. As they told of what goes on in their subjectivities, these family members reveal feelings that have the power to entrap them or to release them. Humiliation and resentment entrap. Forgiveness frees.

Conselho Nacional de Desenvolvimento Científico e Tecnológico

THIS RESEARCH HAS the main proposal to investigate the history of the play Calabar O Elogio da Traição, written in 1973, by Chico Buarque and Ruy Guerra, substantiated by the Reception Theory, which considers news interpretative procedures in the examination of a work, which, just had a succeeded this status when the same it is consumed by the receiver. The work is justified by considering it satisfactory not only the exams of the structural aspects of dramatic literature, recognizing to investigate the historical art, the need to evaluate the circumstances of many readers of the play, starting with the playwrights, during a revision of the dramatic text, the stage director Fernando Peixoto, the others artists, censorship s representatives, the public and lastly, the theatre critic.

This thesis has as main goal the discussion about the relationships built by author/anarchist militants among its written history, policy proposals for the current society and its forms of subjectivity. In the first part of the thesis, the central focus of the debate involves active authors in Brazil and we contemporaries, among them Edgar Rodrigues and - somehow linked to the so-called \" poststructuralist anarchism\" - Edson Passetti and Nildo Avelino. For discussion of this problem, some issues and debates have gained prominence throughout the research, such as the construction of memories and oblivion in anarchist writings of history, the notion of contemporary and ownership via elaborations of memory, the thought of non-anarchist authors, as Max Stirner, Friedrich Nietzsche and Michel Foucault, for the construction of policies proposed by anarchist militants. The second part of the thesis consists of three essays that aim to contribute to the reflection on ways of libertarian social history. Three dialogues were chosen as problematizing motto: Mikhail Bakunin and other revolutionaries (or reformers ) of the League of Peace and Freedom and the International Workers Association, between the 1860s and 1870s; the sometimes acid debate between Ludwig Feuerbach, Max Stirner and Karl Marx, in the first half of the nineteenth century and, in a longer chronological retreat, the debate between Parmenides, Gorgias and Aristotle.

This thesis discusses social process of memories elaboration concerning transformations experienced in Nova Ponte, MG. I sought to understand the ways how workers mean changes and continuities in their ways of living. I analyze the ways how the subjects dealt with the arrival process of a hydroelectric plant in Nova Ponte City, causing the city expropriation and a new city construction. The hydroelectric plant was implanted for Cemig. Its construction began in 1987 and its inauguration took place in 1994, along with the new city delivery . I sought to reflect about the ways how workers instituted their territories in the city before the arrival of the company, their ways of living and working, bringing the life harshness, the multiples employment relationships, but also the leisure time. In this sense, interviewee s narratives brought other histories and a constituted temporality from the 1960s. Treading temporality and culture relatives listed by workers, I could realize the meanings they attach when living in the city that was intersected by Araguari River. The ways they distinguished and recognized themselves in the spaces of the city, as this side and that side of the river, indicate class boundaries in which they were inserted. This study still emerge the workers projected expectations in relation to changes, the fear and insecurity concerning the way their living were been transformed, seeking to understand the convincement strategies created, and the clashes forged in the new city negotiation process. Evidences worked in this research were oral narratives, Cemig s various documents, as reports, books, newsletters, newspaper clippings, photographs, newspaper and minutes of Nova Ponte City Council.

It is about a study concerning the conceptual, political, aesthetic tensions and legitimations in the field of Brazilian music done from thirty-six ditties-reportages of the songwriter-reporter Tom Zé (1936). His ditties constitute the main sources of the work and they were analyzed considering, principally, the notions of evolutionary line in Brazilian, Popular Music and Tropicalism . The thesis shows the historical objectivation of the referred line, from a situation of the debates concerning the state of BPM (or, in Portuguese, MPB) in the middles of the 1960 s decade which, such historical objectivation, ever since, became a significant parameter to think and organize the history of our music in a BPM historiography. In this context, the art of Tom Zé and his partners is presented like being a quarrelsome speech which reacts and aims its insertion into an evolutionary line of BPM and into a tropicalist musical heritage. The study, in pretext of the referred debate, also reflects about the singular manner how Tom Zé explains and resignifies the supposed origins of the tropicalist movement and certain myths around this one. In order to unveil the historical process in which he is inserted, some emblematic moments of his musical trajectory are coursed, such as: formation, (dis)agreements between himself and his tropicalist colleagues, musical ostracisms and rediscovery via United States. Then, thematic specificities of tomzénian ditties are approached, such as: music, backwoods, cities and politics, as long as their sonorous singularities are detached, as the experimentalist traces from the dialogue between the songwriter and musical vanguard of the second half of the twentieth century. By the end, an essay of a new historiography of the Brazilian, Popular Music is showed from the critics to the memory constructed around the existence of the Tropicalism and the exclusion of the protest music in the Brazilian musical scenario.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Fundação de Amparo a Pesquisa do Estado de Minas Gerais

The main objective of this thesis is to understand the way how memories about Araguari-MG city were produced, selected and publicized. The main focus was to reflect and problematize how workers experiences memories were incorporated or rejected, as well as, these subjects were placed in this process from the disputes over the right of the city. Socially constituted disputes also for the right to the past and its history. Reflections developed allowed social relations to be replaced and ways of living produced in the city in a process in which time and space categories cannot be dissociated. This option made me understand that building landmark memory anchors itself to meanings attributed to them and leave aside the multiplicity of experiences that, if investigated, point to the memories production conflictual process about the city. For this, the final production of this thesis was based not only on interior academic production confronting debates, but mostly with memories social production processes in a larger ambit, i.e., of social relations and contradictions involving disputes engendered on time for the history protagonists with whom I have dialogued. This emerge on the analysis from the constructed dialogue with social produced languages that were researched and are from different natures: press, oral narratives, photographs, city intervention plans, books of memoirists, maps, Minutes of the City Council, among others. These supports, when problematized, were transforming itself in evidences which gave opportunity to deepen the goals that drove the production of this thesis.

Much has been said, from various perspectives, about the Engaged Song in Brazil: the composers and songs consecrated in the national mainstream, the insertion in the music industry, the privileged themes, such as the dia-que-virá , the resistance feature and its central role in the process of institutionalization of the MPB music as important complexo sociocultural in the musical life of the country between the mid 1960‟s and the 1970‟s. This research intends to debate in a different way, interconnected to that history, starting from the assumption that the proceeding of these songs expressed himself quite unevenly throughout the Brazilian territory and therefore its parameters need to be revisited and examined in the light of other historical experiences, which are not restricted to the hegemonic centers which have concentrated the most significant researches. During this period, it was also developed in Belém an effervescent renewal process in different artistic languages, such as in art, in poetry, film, theater and popular music, in which stood the concerning to focus in aspects of local reality, without cling to a narrow regionalism. Thus, the MPB music composers born at Pará expressed a sense of commitment to the popular song, while also shaped the production and dissemination of their art. In the musical field, they dialogued with national movements (bossa nova, song of protest and tropicalism) and applied the diverse array of popular, urban and rural musical expressions (merengue, bolero, carimbó) in his workshop work. Sought thus to critically demonstrate and convey their message in a context in which they faced the harsh reality of dictatorship, the limitations of individual and collective freedoms, censorship, arbitrary arrests and development and integration projects, which interfered in the way of life of many people at Pará. This all contributed to the new aesthetic and political meanings of the Engaged Song. This research aims to give them greater visibility and help in their understanding.

The analysis of the background of workers from various areas of activity shows that capitalists impose processes of exploitation of the working class in order to generate even more capital. In the city of Ipatinga (MG), the building of a large steel mill involved changing habits of the local population, including the implementation of a strict discipline on employees the so-called USIMINAS culture . This disciplinary model also involved the control of workers local trade union, with the direct interference of the company in the elections, as it proves its attempts at preventing the formation of an oppositional slate intended to take control of the union in favor of the workers. By combining strength and daring, a group of laborers managed to form an opposition slate without rising suspicious and to make it official as early as possible, so that it ended as the first slate to be registered. Union elections in 1985 changed the everyday life of local population, who get involved directly in the struggle for votes. The company showed its determination by threatening directly or indirectly, if the opposition group won the elections. This strategy of threaten proved to be effective since the slate n. 2 won with explicit support of the company. The historical process of forming slate n. 1 shows that the bonds its members established with other workers families allowed most of them putting themselves in contention for local political power, right after being fired. As population was receptive to their proposal, in the 1985 municipal election these workers were able to gain political power in Ipatinga over traditional politicians and to deploy an administration with the participation of the people. Social conflicts from the early days of steel mill operation still permeate local memory and it seems strongly influenced the disputes in the 80s. In the game of oppression and resistance, workers challenged USIMINAS culture , which controlled their actions and population s. Since workers won in the municipal elections, spaces formerly occupied by political oligarchy and the company had to be divided between this latter and them, who had been fired as a punishment for their opposition actions to the union administration.

Conselho Nacional de Desenvolvimento Científico e Tecnológico

In the burden of the oldness and aging: subjectivities and public politics in Brazil, we studied the aspects related to the elderly as subjects from the present time. It is analyzed in this paper, the subjectivity of being elder, the multiplicity of this condition, the difficulty of categorization of the oldness as a social problem. The increase of life expectancy has been considered an obstacle to the public account. We started from this analysis in order to discuss the Welfare State, an institution created to support workers at illness, oldness, and death but then used for financing the nation, what resulted in economical difficulties to the entity. The insufficient amount of benefits for a worthy life, and the lack of support that the elders are submitted, generate the necessity of public politics. The United Nations, in its search for the human rights respect and social progress, was an important motivator to law and public politics which has the elders as the main focus. The laws coming from the demands of the elders and their representatives, considered as citizenship aquisition, are not always respected. The cultural aspects, the stereotypes and the almost total absence of representativity can be considered as the responsible for the lack of resistance to the usage of the amount of money raised by the Welfare State to assist people in the situation of necessity, inherent to the human being.

We aim in this thesis to analyze aspects of the transformations occurred in the MST, Movimento dos Trabalhadores Rurais Sem Terra (in free translation: Rural Workers Landless Movement), from 1981 until January 2015, through its publications. We made it clear that what is presented here is a set of representations as this concept is defined by Roger Chartier of the movement about issues which we choose as relevant to understanding its dynamics in time. The central point of documentation used in the work is the Jornal dos Trabalhadores Rurais Sem Terra (in free translation: Journal of Landless Rural Workers), which has its beginning, even as a report, before the official foundation of the MST in 1984, but were also used other informational and training publications, besides its content site, which came into being in 1996. As the movement developed into a trends accent period of modernity, such as individualism, consumerism and social breakdown, trying to understand, through research, what were the impacts this situation on our subject. Therefore, the initial part of the thesis strives to clarify the main characteristics of temporality issue that could influence the MST. We follow their perceptions of land reform, the formation of their members both with regard to some forms as the ideological content its relationship with the state and the issue of violence as it is felt and performed by social subjects we set ourselves the study. In its quest to establish new relations in the field, the movement, since its inception, realized that it would be very difficult within capitalist relations, particularly in its neoliberal version, and took a discourse of class, with strong revolutionary content. The MST, thereby, with rare exceptions, always understood that the changes sought would be consolidated see the size of its force to generate them through the struggle. Since the 1980s and especially from the 90s, the movement gradually alia increasingly complex network of individuals on the planet, designated by the general term alterglobalisation which currently come together around a common theme: another world is possible . The limits and scope of this statement, as well as the ways in which the MST seeks to enter this field of struggle, are also analyzed in the work.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Fundação de Amparo a Pesquisa do Estado de Minas Gerais

THE PROTAGONIST OF this work is a theater company called La Barraca University Theatre. It was characterized by being an itinerant troupe who served in Spain in the first half of the twentieth century, between the years 1931 and 1936 The direction of this was done by Federico García Lorca, activity which he had exercised voluntarily as creator, director and actor. Our discussion of the company is appealing the consideration that, in the management of their ideals regardless of political experience, aesthetic and pedagogical, production proposed a debate with society in order to formulate a present-future using the theatrical staging. The hypothesis is that the theatrical make this company aligned to a modernization movement in Spain seeking a new national theater. The methodological approach for the development of research seeks to establish a dialogue with the reframing of staged works and the context of the scenario. The extension activity representing La Barraca University Theatre conceives a theater that values cultural elements in its own time-space of the staged spectacles proposing an instrumentalisation of popular. A theatrical performance is a here / now that converges a practice of academics and artists in an encounter with popular mutually located within a cultural program of social action during the Second Spanish Republic. Our reflection on such company considers the experience of the activities gestated in view the pedagogical experience lived in a proposed repertory theater. In selecting works for shows presented, proposing itself an appreciation of literature and the Spanish theater with the goal of formulating a present-future. The selected works are part of a preference of texts in which it is possible to establish a dialogue with the reform process in Spain back in 1931 and 1936. But beyond this, these texts have an embryo staging that dialogues with prospects of a new theater. In these circumstances, La Barraca University Theatre was an itinerant theater company that cared about art, but if characterized as a means of communication between intellectuals, artists and popular in social action whose course was directed to the promotion of a production aimed at popularization of the national theater.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior