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Based on the statements of Senators, speeches of Presidents of the Republic (Fernando Henrique Cardoso and Luiz Inacio Lula da Silva) and the volume of legislation (laws and court proceedings), the thesis highlights the complexity of the maze that is the discussion topic of Agrarian Reform in Brazil, from 1995-2006. Rhetoric is one of the tools used by these political agents in order to convince about the importance of the arguments that advocate for Agrarian Reform. The research examines the historical social struggles and the correlation of forces that are present in the process of drafting laws in the content of reading (comprehension - interpretations) and application. Thus, the research analyzes the legislative output of the agrarian period, conceiving the law as an argumentative practice and the construction of laws and their subsequent application as a result of social struggles, showing historically how in practice the "democratic state" "right" has acted in relation to the subject, that is, as the executive, legislature and judiciary, and faced with the organized forum of civil society - the Movement of Struggle for the Land - have been concretely active in the struggles around the land agrarian reform issue.

The aim of this work is to understand the historic process which achieved the construction of the Latin American contemporary music movement in Belo Horizonte, more specifically, the Latin American Composer s Gatherings of Belo Horizonte, held in the years 1986-1988-1992-2002 sponsored by the Fundação de Educação Artística. It was also possible to get knowledge of their artistic cultural programs (works, composers, performers) in which one can found included the production of Brazilian music and music of Minas Gerais, as well as the theoretical questions presented in form of Thematic Panels. As for their importance not only in local, but national and international levels, the Latin American Composer s Gatherings have had a strong social impact in the city of Belo Horizonte in the decades of 1980-90, mainly through the academic scene, contributing to the musical formation of young composers and performers and for the structure of the musical composition area at the Escola de Música da Universidade Federal de Minas Gerais. As far as the common problems facing Brazil and Latin America on the above decades are concerned, a changing in favor of the Latin American contemporary music passed necessarily by the understanding that the politic and economic aspects were strongly connected with the cultural one. As for their production and musical diffusion, a major participation of all professionals - composers, performers, educators and musicologists - in the sense of interfering in the current teaching musical model practiced in institutions of fundamental, median and college levels.

Conselho Nacional de Desenvolvimento Científico e Tecnológico

Workers' struggle and popular participation in Venezuela: a study on the resistance of workers The oil Paro of december 2002. With this title, here is the doctorate thesis that sees this country in successive attempts at civil-military coups in the early twenty-first century, and analyses the direct participation of workers and popular sectors in the struggle for their claims. Venezuela is a country that, with Chavez s possession in the presidency in 1999, is causing many controversies around the world, whether from his supporters who hear from him the need to build socialism or from the bourgeoisie who thought he had erased once this word and its meaning. Thus, both sectors are pitted in broad discussions and direct confrontations inside and outside the country. If, on the one hand, it is good for the working class and the oppressed sectors in general, to redeem the word and the meaning of socialism, on the other, both sectors, pro-Chavez or anti-Chavez, did not understand what socialism is. If in fact, the first group dreams of socialism, it is not with Chavez that they will come to that intent. The second, although critic of Chavez, don t realize that Chavez is a bourgeois hue sui generis. To understand this whole Venezuelan process, specifically in the oil Paro of December 2002, under a broader historical analysis, we include the actions and the roles of the Venezuelan working class and popular sectors in these clashes on the country, which occur since Chavez's rise to power. To this purpose, the beginning of all this social effervescence was emphasized, from the popular uprising in February 1989, known as the Caracazo, to its subsequent unfolding. The main point of all these disputes was the oil Paro in December 2002 at the country's oil producing company, Petróleos de Venezuela Sociedad Anónima - PDVSA. With the country economy paralysis, the plotter bourgeois opposition, along with its allies in the working class, the trade union bureaucracy, tried to bleed the Venezuelan economy, cause a collapse and overthrow Chavez. The prompt arrival on the scene of thousands of workers and popular sectors in direct action and occupation of the company, putting it to work, has undermined the project of the scammer opposition that once again was defeated by the initiative to mobilize the working class and exploited popular sectors that operated identified with the oppressed class. It happened that, in addition to defeating the stroke, these oil workers, supported by popular sectors, had their hands under the control of the second largest company in the world oil production. With this, it was demonstrated in locus that the working class has current conditions to control the production and management of goods produced by it. All this within a bubbly historical process of social struggles, restoring landmarks of socialism, lost in the decades of 1980 and 1990. In this thesis, we seek to understand these social agents, their struggles, claims and experiences, analyzing the germs that allowed the unfolding of this historical process. We highlight the experience of what a society can be and what its workers and exploited sectors can make when, they both mobilized and organized, decide to control the production and distribution of their goods.

This thesis addresses the relationship between Cinema, Literature and History from the filmic adaptations of São Bernardo and Vidas Secas - literary Graciliano Ramos brought to the screen by filmmakers Hirszman Leon (1973) and Nelson Pereira dos Santos (1963), respectively. The writer and the filmmakers, through their aesthetic and political positions, sought to build their works through discussions that pointed to the projects, world views and ideals of non-hegemonic social categories, showing a Brazil multifaceted and heterogeneous. To realize these positions we try to capture its relations with the various proposals of realism and the left over the adaptation, production and reception of the books and movies, as each of the authors not only sought to build his criticism of propositions and policies of the hegemonic social categories, as advocated in his own way, aesthetic and political positions parallel, but not necessarily identical in seeking to represent Brazil.

Depuis toujours, plusieurs artistes d arts visuels d Uberlândia, produisent des images qui représentent bien quelques espaces urbains de cette ville, ce qui donne la possibilité d avoir un regard imagé des lieux parfois déjà disparus du quotidien contemporain de la ville. On propose, dans ce travail, une lecture de quatre images conçues par des artistes de la ville qui ont présenté, à travers leurs poétiques, des fragments de l histoire d Uberlândia tels que La Première Messe (1948), une peinture à l huile sur bois de Geraldo Queiroz, qui représente la première chapelle de cette ville (1853 1858), Église de Nossa Senhora do Carmo, peinture à l huile sur toile de Ido Finotti (s/d), qui présente en formes et couleurs, l ancien parvis de la première église d Uberlândia (1858 1943), Dominical (2001), aquarelle sur papier de Hélvio de Lima, représentation de l espace occupé par le « Coreto » de la place Clarimundo Carneiro (1927) et Congada (2006), gravure en vinil de Glayson Arcanjo, une composition de la fête du « Congado », fête réalisée dans le parvis de l Eglise Nossa Senhora do Rosário (1931). Ainsi, il est possible de vérifier qu à travers leurs lectures, tous ces artistes expriment leur perception des histoires d Uberlândia, en les révélant dans des expressions esthétiquement différentes. Les réflexions de Deleuze et Guatarri sur le rhizome et celles de Santo Agostinho sur le temps, ont inspiré l écriture non linéaire de cette thèse et permettent au lecteur d avoir la liberté de lire ce travail sans l obligation de suivre l ordre de ses chapitres. Ainsi, l histoire de la ville peut être pensée à partir de la compréhension des temps présent, passé et futur. L aller et le venir dans les lectures et le carrefour de plusieurs sources, c est-àdire, les images, les journaux, les exposés oraux, les dépliants, entre autres, nous ont donné la possibilité d être au milieu, comme le rhizome, sans début ni fin. Voir, lire et écrire sous la forme d un rhizome ont permis des ruptures, des interlocutions etou des retours et de nouvelles reprises d autres ouveaux chemins d investigations pendant le processus de la composition de la thèse. L image du rhizome, sans début ni fin, exprime l exercice de la construction de la thèse et, au même temps, s ouvre au lecteur comme une invitation aux possibilités de nouvelles lectures sur le parcours des transformations de la ville d Uberlândia.

Universidade Federal de Uberlândia

In this work we objectify to understand the process of transformation of the social groups formed by gays, bisexuals, travesties, transsexuals and transgenders lesbians in Brazil contemporary. The invisibility of these individuals and groups, its silence and the oppression for them suffered, the constitution of a homophobic society, as well as the tenseness so that holding back and silence, injury, violence and death can be ceased, are privileged elements in this analysis. Characteristic aspects of the bourgeois society installed here, together with a fortified Christian religious tradition, are tacked to become clearer the construction of an heterosexual normative, patriarchal, male chauvinist and refusing culture that made itself hegemonic, present in the State, the education, the familiar household. The diverse actions that had aimed at/aim at to guarantee visibility and basic rights to LGBTTT individuals are analysis object, as well as the critical deepest ones to this hegemonic culture, in the elaboration of a culture that makes it opposition. For the Social History and doing vertical form to our analysis from the connective category that is the Gender, we search to understand these tenseness and the construction s possibilities of a political culture that takes to the denaturalization of the differences of the erotic-affective experiences on the way of an effectively democratic society.

This work tries to establish a dialogue between art and society. It is a reflection on Show Opinião, a musical spectacle performed in 1964 in the city of Rio de Janeiro by Grupo Opinião and by Teatro de Arena, both of them from São Paulo city. Oduvaldo Vianna Filho s, Paulo Pontes s and Armando Costa s musical has marked Brazilian theatrical scenario not only because of its innovative dramaturgy but also because it was the first artistic experience to criticize openly the military regime which was imposed 1964 in Brazil. In discussing Brazilian society s political problems and cultural matters in the 1960s, Show Opinião breaks through the idea that the politically compromised and engaged theater has to be grave, didactic, schematic, and not causing laughter. In this thesis, the interventions regarding Brazilian popular music, laughter, comical situations, unusual typical characters and other fanciful and fictional elements from the theatrical scenario will be understood and valued as resistance political tools which are able to encourage people to the debate and interventions leading to a questioning of the political arbitrariness the 1964 military coupe d état perpetrated. Although Show Opinião is an important reference to the drama scenario in the 1960s, its performance has raised many controversies. With its structure based on sources from Brazilian popular culture and popular, participant music in a time when music industry was raising this spectacle was understood by critics, intellectuals, and journalists as a romantic and welcoming manifestation from suffering people. Besides, the assiduous presence of popular music in its performance has led many people to interpret Show Opinião as a commercialization of the political fight that was being built at the time. Unlike such ideas, this thesis begins with the hypothesis that Show Opinião is an important manifestation of political and organized resistance against the 1964 military coupe d état. To be understood as such, this spectacle should be viewed as something that goes beyond the coupe d état s impact. The matrixes of this politically engaged drama come from nineteenth-century s musical theater (teatro de revista) tradition, as in the valorization of laughter, comical situations, irony, and music; from União Nacional dos Estudantes s Centro Popular de Cultura, an organization that produced aesthetical and artistic experiences to promote popular culture which contained fanciful, comical, musical and amusement elements to politicize the theatrical scenario; and from Zicartola restaurant, where traditional Brazilian music (samba, xote, and baião) were played and where intellectuals and artists willing to face dictatorship used to meet. German drama experiences such as the ones by Bertolt Brecht and Erwin Piscator, above all the valorization of music, gesture, strangeness, and music on the stage, completed Show Opinião political engagement. Since this spectacle joined an innovative aesthetical form a play with protest songs and popular sources with an explicitly political content on the stage, this thesis argues that such a spectacle was a manifestation of resistance to the 1964 political events.

Universidade Estadual de Montes Claros

Although animated sitcom fiction has always been the focus of researchers analysis, historical studies about animated series aired on TV are still scarce. Moreover, whether researchers have investigated animated sitcoms, it was not with the intention of discussing their relation to the images of Brazil and Brazilians conveyed both on TV and the Internet. Because of that the object of study of this thesis is the discussion of socio-historical-political dimensions in The Simpsons , a profitable animated sitcom and a satirical parody of a working class American lifestyle family, whose episodes have been aired on Brazil and all over the world s TV channels for more than two decades. Therefore, the corpus of this investigation is some of the series episodes, notably Blame it on Lisa during which the fictional family travels to Brazil. With the objective of bringing to light the representations of Brazil in the last decades the research makes use of the internauts speech acts of which emerge their critical discourse construction of the The Simpsons. The Internet, an interesting locus to reveal Brazil and its relation to the American production of series, is also used not only in an attempt to define simpsonized language and discuss the (re)signification of Brazil s imagery as created by the internauts, but also to put to question concepts such as family, childhood, criminality, violence, sexuality in children s programs and the lampooning of Brazilian identity symbols, always treated in an unflattering or negative light, in the search for larger audiences (Top 30 ratings) and for money, categories also selected for the development of this work. Still, anthropophagy, a category largely used in Brazilian literary (con)texts in the beginning of the XX century, supported the analysis of internauts and actual viewers perception of the series as a point of departure for helping engender behavior and attitudes that can help rebuild realities, via massive media, even if inspired by The Simpsons, and mainly based upon criticism revealed by the episode Blame it in Lisa. On the one hand, the text attests the capacity of Brazilians, by means of using communicative technologies, for reacting against the negative satirical portrait of Brazil and Brazilians and on the other, for rescuing this image, even if utilizing that simpsonized language . Research leads to the conclusion that Brazilian internauts and actual viewers do not watch The Simpsons passively but stand up against the unflattering insinuations in relation to Brazilian culture, society, history, folklore, Brazil and the Brazilian people, and try to rescue those images conveyed by the sitcom episodes, especially the ones in Blame it on Lisa . And yet, the text evidences that certain images of Brazil and Brazilians represented in the animated sitcom expresses the troublesome reality of truthfully and because of that they have become one of the thesis concerns and another significant aspect to be considered. Such images are the reason for the investigator s raising relevant questions and his strongly suggesting accurate reflection and discussion on such a matter.

The purpose of this thesis is to approach humor as the central element on Oduvaldo Vianna Filho Vianinha s work, through the analysis of the comedies that were written in the period before the blow of 1964 (Bilbao, Via Copacabana -1957, A Mais Valia vai Acabar Seu Edgar 1960, Cia.Amafeu de Brusso - 1961) and in the post-1964 (Dura Lex Sed Lex no Cabelo só Gumex 1967, AllegroDesbundaccio ou se Martins Pena Fosse Vivo -1973). Accordingly, the main argument is that the study of his comic works help us notice that under the weight of failure and perplexity against the blow, Vianinha turns into a critic of himself and the allegoric characters of the post-blow express the feeling of the contrary, in other words, the perception of a private that is the opposite of what it should be. The way he used humor on the post-blow period revealed absurd behaviors and situations, many times derived from the tragic, expressing on the narrative style a look to themselves and to the social group they were inserted in within the consumer society.

Universidade Federal de Uberlândia

The cities are dynamic, therefore, your space is constantly changing to adapt the new urban realities and the news proposals of organization spatial. In Brazil, after the approval of the articles 182 and 183 of the Federal Constitution of 1988 and the Statute of the City, in 2001, news values guided the elaboration of plans directors; those plans became obligatory for the Brazilian cities with more than twenty thousand habitants. Through this study, I tried understand the process of transformation of the city of Uberlândia/MG, during the period from 1950 to 2010, which was marked by many proposals of planning. My objective was investigated when started the preoccupation with the organization spatial through of urban plans. The analysis of the plans directors of 1954 and 1994 contributed to us understand that the proposals exposed - at the time were implemented rarely benefit the population, because your participation in this process was very small. The emphasis given to the progress and the investment in modernization project materialized through actions developed to organize the urbanization and sanitation, the installation of industries, the transport system, creating another image of the city, where everything that represented the "delay" needed to give space to the "new". The changes also occurred in their habits and customs of the people who tried adapt according to the requirements of the new times. Therefore, was essential problematize the role of the social subjects, the uses that they does of the Center of the city and the speeches about the notion of progress that were built by the dominant class with views to inculcate in the population the ideals of modernity, progress and civility. Thereby of this analysis, I sought understanding how the practice of planning has contributed to the solution and/or maintenance of inequalities socio-spatial the urban structure of Uberlândia, giving emphasis to the center of the city.

Conselho Nacional de Desenvolvimento Científico e Tecnológico

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

This research, through the staging of Macunaíma, by Antunes Filho, in 1978, sought in the light of theoretical and methodological assumptions of Cultural History, seize the dialogue between arts and society, aesthetics and politics, history and theater and their contributions to the historiographical debate. In that perspective, looking into the theater produced by the director currently the coordinator of the Research Center of São Paulo Theatre enabled to view how engaged he was in the struggles of his time in favor of affirming national directors and the construction of a scenic language in Brazil. At a time when society lived under a state of exception, the \"leaden years\" marked by political persecution to the dissonant voices of the military regime, by will and restriction of cultural productions, the artist, through this historical context, resized his aesthetics language. Antunes s spectacle, by proposing a reflection on the character of Brazilian men, forms of consciousness and alienation, contributed to the modification of current theater parameters, marking the passage of a scene rooted in the verb to a scene based on the sign and which stands out the visual aspects. Considering the above, it was observed a refusal to politicized texts and the construction of a scene more and more aestheticized, in accordance with trends in contemporary theater. Thus, the formation work of the actor / creator considered the core element of the theater director from an internal path itself, based in the register consisting of the study of man and of Brazilian culture, was responsible for the outcome of a scene anthropological on stage at São Pedro Theater.

The main objective of this work consisted in establishing a wide interlocution among the several subjects involved with the sense productions about the Brazilian Cinema, taking the notion of modern as the reference for discussion. The analyses of texts and books produced by moviemakers and movie critics allowed the vision of articulated aspects which sustain the Modern Brazilian Cinema and it also allowed the problematization of the production places considering a specific speech and the implications produced by its institution as a regime of true. In order to confront the predominant explicative model in the historiography of Brazilian Cinema, movies and texts about the movie experimentalism highlighting the ones produced in the 1970s in the city of Teresina (PI) were used. This genre allowed, according to our point of view, the establishment of a new reading possibility of the Brazilian Culture of the 1960s and 1970s. Considering the conceptual aspect, this work aimed the benefits proposed by the post-structuralistic analyses of scholars as Michel Foucault, Hayden White, Keith Jenkins, among others.

He adult life was altered very much in the western modern societies. The redimensionamento of the parental authority, new educative standards, transformations in the relations of type and between generations they compose new social and familiar scenery. We bring modernpowders or pluralist near to the century XXI with the family, to the individualism and the relations descompromissada. In this slant when we think about our object of study: of making pregnant of adolescents in the century XXI, after the revolution of the pill and of the birth of the feminism, the act turns clear thinking which sense has this motherhood in this time of fluidity, ephemerality of the individual one, of the contemporary culture that puts languages, paradigms and projects on top. Which sense has this counter-power practised by them when they are opposed to the public politics and to a model established by the contemporary society, which translates the pregnancy in the adolescence like a problem and or I wander. This study was developed from written and oral fountains obtained with interviews you give adolescent pregnant women his companions and, when MG was located in the city of Uberlândia, We Notice his families that in spite of the thought \"hegemônico\", of mistake or problem translated by the media, by the programs of health, by the medical teaching itself, and for the contemporary world, the persons hold out and rewrite new judgements of values.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior