Mestrado em História (FH)
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Navegando Mestrado em História (FH) por Por Orientador "Alencar, Maria Amélia Garcia de"
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Item Chega de saudosismo: a tradição musical brasileira, o riso e a paródia performatizados pela Tropicália (1967-1970)(Universidade Federal de Goiás, 2016-02-25) Bruzadelli, Victor Creti; Alencar, Maria Amélia Garcia de; http://lattes.cnpq.br/7665566532275199; Noronha, Márcio Pizarro; Paranhos, Adalberto de Paula; Alencar, Maria Amélia Garcia deThe tropicalismo has been studied by a number of researchers from various fields - history, music, sociology, philosophy, linguistics, among others - who have studied their goals, their aesthetic conceptions, analysis of some songs, their ways of composing and performing songs and their political linkages, etc. Although this movement has been intensely debated and studied, a factor that has not had its due importance revealed by researchers is the tropicalista “laugh” - and this is precisely the focus of this work. This “laugh” is the result of many elements, from costumes, "happenings", dances, generation shock and reality, vocal performances and so on. For this work was chosen “laugh” coming from the “parody process” of musical tradition by tropicalistas musicians. This parody is marked by some unique features that are only possible to realize if we analyze the vocal performance of these musicians-performers, extracting the most information possible from the specificity of their chant. Thus, this work aims precisely include in the context of Tropicália, the Brazilian musical tradition, to parody, to “laugh” and vocal performance. Making possible therefore, another key analysis of this national aesthetic movement present at the end of the 1960s, which is key to the formation of the musical consciousness of Brazil.Item Uma "Arquitetura de sonho e permanência": a representação da decadência oligárquica em crônica da casa assassinada(Universidade Federal de Goiás, 2013-11-22) Natal, Rivaldene Rodrigues; Alencar, Maria Amélia Garcia de; http://lattes.cnpq.br/7665566532275199; Alencar, Maria Amélia Garcia de; Ribeiro, Renata Rocha Ribeiro; Fredrigo, Fabiana de Souzan this dissertation we search to establish a relation between History and Literature by the intermediate of the psychological novel Crônica da casa assassinada (1959), of the Brazilian writer (specifically from the state of Minas Gerais) Lúcio Cardoso. Starting from this work, we investigate some aspects related to the decadence of the rural oligarchies of Minas Gerais, from the decade of 1930 and on. The path followed by the rural oligarchies, from the apogee to the decay of the economical, political and social systems is explained considering some objective and subjective aspects that have permeated the relation between these subjects. Consequently, we search, through the novel, an interpretation of the Brazilian History in a determinate period. At the same time, through the characters, we settle an interpretation by the point of view of a more psychological analysis. We started by the supposition that from a fictional narrative it is possible to establish nexus with the social reality. We pick up from the novel typologies of world configuration that we connect with the reality of the man and his existence with the author’s intention of representing characters that have searched, through the inner sounding, recreate the environment of instability where they lived. These characters are seen as a representation of a universality at the same time that the writer, in an intentional way or not, transpose to his work his vision of the elements that have composed the social realityItem “As coisa lá da minha mudernage”: entre-lugar, modernidade e sertão na obra artística de Elomar Figueira Mello(Universidade Federal de Goiás, 2014-03-28) Oliveira, Helder Canal de; Alencar, Maria Amélia Garcia de; http://lattes.cnpq.br/7665566532275199; Alencar, Maria Amélia Garcia de; Berbet Júnior, Carlos Oiti; Nunes, Jordão Horta; Araújo, Alexandre Martins deThe work of Elomar Figueira Mello emerged in the late 1960s. The topics of his songs and poems focus on the appreciation of the backwoods and country culture. He does this contrasting ethos and vision of traditional and modern world. By making this contrast, the artist notes that the interior is modern branded by a hegemonic discourse of late, wilderness, barbarian, among others. Thus, this modern discourse rejects and silences other discourses-explanatory that are not within their assumptions as the philosophical, theological and popular. According to Boaventura de Sousa Santos (2010), this silencing can be designated as epistemicide. Thus, the musician denounces in his art this process of modernization and epistemício engendered by modernity. However, while Elomar makes this complaint he cannot stray of modern rationality, because he keeps the Cartesian dualism as he keeps, for example, a separation between town and country, featuring the first as the site of inhumanity, the prevalence of demonic precepts and the second as the place of redemption, the encounter with God. Moreover, despite the musician in his speech reject modernity, it is possible to observe several modern influences in his life and work as a Protestant orientation and his taste for opera. That is why we think that the work of Elomar Figueira Mello can be characterized as being in a cultural border, in a place in-between.