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This work investigates the transformation of American perception of reality from the Colonization Conquest. The object of this study is the Alonso de Ercilla work, La Araucana, published in the late sixteenth century. When necessary we compare it with the narratives of those who participated directly or indirectly of discovery and conquest of America and Chile, specifically. We believe the conquest of Chile is one of the borderline cases in the \"American Adventure\" and their research, when using as sources the narratives already produced, we can explain how they were experienced, perceived and meant the changes occurred in the conquest processes. We believe that a careful reading of Ercilla\'s work allows us to understand the critique of Colonialism. For both called into question the justification of European presence in America. For development of this analysis, we place the work of Ercilla in his time, analyzing the canons in force at the time, especially the sixteenth century poetry. In addition, we studied the construction of the poem and its main responsible characters, with its moral and physical characterizations and especially with his speeches. We study it for presenting that face criticism of colonial processes that were taking place. We conclude this study about readings of the work carried out in the seventeenth that discussed and proposed solutions to the araucana question\" and its projection in the constitution of the republican Nation State of Chile in the nineteenth century.

This thesis sought to rebuild part of a rural culture, herein referred to as culture of violence from the historical narrative of the lifestyles and perceptions the inhabitants of remote regions in the region of the valleys around the Araguaia and Tocantins Rivers, a region consisting of the current state of Tocantins, former northern Goias, southern Pará and Maranhão, between 1830 and 1930. The historical representation woven into my narrative holds that that lifestyle and its representations, built by the rural folk at that time and in that space, are violent as a rule. This is the result of specific learning picked up through exposure to violence and such learning is embedded in the social memory of this region, and even in periods of relative tranquility this memory is brought to life by its inhabitants as required and in accordance with the interests of the individuals involved, which engenders and encourages new rounds of violence which, as a whole, have built a culture of violence.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais

This dissertation is about the city of Uberlândia produced and built in different historical memory registers. From different records of residents of this city, especially the neighborhood of President Roosevelt problematized property building memories rebuilt by the government or by the press in the first decades of the twenty-first century. Followed by workers who live and places I chose one of these: the neighborhood of President Roosevelt. To problematize some notions such as social housing and poor carried a political connotation which required residents to these places and ways of life to be accepted to the dominant city. I Problematize also questioned the idea that sometimes accepts the social spaces of Uberlândia City were built by the partnership-estate and overlook the empowerment of residents. Oral narratives were important to redesign social places and question certain memories that these subjects withdrew from the active role of city builders. The dialogue with the subjects were also fundamental to the interpretation of the sources produced by the press and understand the attempt to establish certain way about living in the city and how these change over the pressure of social subjects.

This research study examines the construction process of the Candonga hydroelectric dam, currently called Risoleta Neves, located between the municipalities of Santa Cruz do Escalvado and Rio Doce, in the Atlantic Rainforest Zone of the state of Minas Gerais, so as to understand the fabric of hegemony surrounding this project. Its guiding principle is the investigation of how the workers from São Sebastião do Soberbo, a rural district submerged by the dam, rebuild their lives amid feelings of loss, new production conditions and sociability. The methodology focuses on the historical logic proposed by Edward Thompson in order to highlight the real formative movements of consciousness. In this sense, the study aims to endorse the values of dispossessed workers, especially those who have an alternative definition of property, which was conceived by means of a lived social process that expresses customs, practices and expectations. Therefore, it employs oral sources, newspapers, documents produced by the companies of the Candonga Consortium, Environmental Impact Assessments, Environmental Impact Reports, photographs, etc. By means of the concepts encompassed by Marxism, the study endeavors to critique capitalism in its current format, on the premise of its historicity, its systemic origin, its unifying logic and its social roots, whose meaning has become an important identifier due to the bias of the worker s experience.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais

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