Relevant bibliographies by topics / Tropicalismo e Cultural industry

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Academic literature on the topic 'Tropicalismo e Cultural industry'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Tropicalismo e Cultural industry"

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Miranda, Dilmar. "Carnavalização e multidentidade cultural: antropofagia e tropicalismo." Tempo Social 9, no. 2 (October 1997): 125–54. http://dx.doi.org/10.1590/s0103-20701997000200007.

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Duarte, Pedro. "A alegoria tropicalista do absurdo." Viso: Cadernos de estética aplicada 12, no. 23 (September 14, 2018): 1–14. http://dx.doi.org/10.22409/1981-4062/v23i/247.

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Este artigo analisa os pressupostos estéticos que o crítico Roberto Schwarz adotou para classificar a poética alegórica do movimento musical do Tropicalismo como um “absurdo”. Para tanto, distingue-se a noção de alegoria da filosofia de Georg Lukács daquela de Walter Benjamin, apontando como o crítico alinhou-se com a primeira e o Tropicalismo com a última, a fim de pensar a relação da arte com a identidade nacional e a indústria cultural no Brasil.
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Napolitano, Marcos, and Mariana Martins Villaça. "Tropicalismo: As Relíquias do Brasil em Debate." Revista Brasileira de História 18, no. 35 (1998): 53–75. http://dx.doi.org/10.1590/s0102-01881998000100003.

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Este artigo procura analisar historicamente o movimento tropicalista de 1968, seguindo dois caminhos: uma breve revisão crítica do debate intelectual em torno do tema; a reflexão sobre a trajetória histórica dos protagonistas e suas criações. Procuramos enfatizar o caráter ambíguo do legado cultural tropicalista, ao propor uma crítica cultural radical dentro das estruturas do consumo de massa. À luz deste projeto tropicalista, procurando evitar juízos de valor, apontamos para algumas problemáticas que possam nortear futuras pesquisas.
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Rodrigues, Walace. "TROPICALISMO E CINEMA NA CONSTRUÇÃO DE UMA IDENTIDADE CULTURAL NACIONAL." Cadernos de Pesquisa 21, no. 2 (June 26, 2014): 97. http://dx.doi.org/10.18764/2178-2229.v21.n2.p.97-105.

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Este escrito busca trabalhar com a identificação nacional na época do movimento tropicalista. Paratal, utiliza-se duas obras de cinema no intuito de melhor ilustrar os mecanismos discursivos críticos usados pelostropicalistas. Estas obras cinematográficas são “Macunaíma”, de Joaquim Pedro de Andrade, de 1969, e “ByeBye Brasil” de Carlos (Cacá) Diegues, de 1979. As obras se utilizam claramente de uma estética tropicalista paraabordarem a nação brasileira e uma busca de identidade nacional. A utilização de obras de arte cinematográficas,ambas com caráter tão nitidamente brasileiro, pode revelar-nos alguns importantes aspectos identitários própriosda sociedade nacional.Palavras-chave: Tropicalismo. Identidade Nacional. Cultura. Sociedade. Cinema. TROPICALISM AND CINEMA IN THE CONSTRUCTION OF A NATIONAL CULTURALIDENTITYAbstract: This paper aims to work with national identification during the times of tropicalist movement. To do sowe use two artworks from cinema trying to better illustrate the critical discursive mechanisms used by the tropicalists.These two cinematographic works are “Macunaíma”, by Joaquim Pedro de Andrade, from 1969, and “Bye ByeBrasil”, by Carlos (Cacá) Diegues, from 1979. The works clearly make use of the tropicalist aesthetics to understandthe Brazilian nation and to search for an nation identity. The utilization of cinematographic artworks, clearly brazilians,can reveal us some aspects important identity of the national society.Keywords: Tropicalism. National identity. Culture. Society. Cinema. TROPICALISMO Y CINEMA EN LA CONSTRUCIÓN DE UNA IDENTIDAD CULTURALNACIONALResumen: Este escrito intenta trabajar con la identificación nacional en la época del movimiento tropicalista. Paratal, utilizase de dos obras del cine brasileño para mejor ilustrar los mecanismos discursivos críticos usados porlos tropicalistas. Estas obras cinematográficas son “Macunaíma”, de Joaquim Pedro de Andrade, de 1969, y “ByeBye Brasil” de Carlos (Cacá) Diegues, de 1979. Las obras se utilizan claramente de una estética tropicalista paraabordaren la nación brasileña y una busca de identidad nacional. La utilización de obras de arte cinematográficas,con motivos tan claramente brasileños, poden revelarnos algunos importantes aspectos propios de la identidad yde la sociedad nacional.Palabras clave: Tropicalismo. Identidad Nacional. Cultura. Sociedad. Cine
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Oliveira, Márcio de. "EM TORNO DA CIVILIZAÇÃO LUSO-TROPICAL: a contribuição de Gilberto Freyre à sociologia da imigração no Brasil." Caderno CRH 30, no. 81 (December 2017): 561–78. http://dx.doi.org/10.1590/s0103-49792017000300011.

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Rigorosamente, não há uma sociologia da imigração na obra de Gilberto Freyre. Contudo o fenômeno da imigração não está ausente das análises sobre o modelo freyriano de amálgama e sobre os processos de miscigenação social e racial. Está presente ainda em conferências e livros sobre a civilização luso-tropical, em seu interesse e viagens por outras culturas e países. Ele pode ser observado ainda em sua atuação parlamentar em defesa da lusofonia durante a Assembleia Constituinte de 1946. Esse paper discute a contribuição de Freyre à sociologia da imigração no Brasil, em relação à discussão mais geral sobre o luso-tropicalismo. Colocando em perspectiva comparada as definições sobre o luso-tropicalismo e as análises dos processos de assimilação, conclui-se que os estudos nos quais Freyre analisa aspectos da imigração foram contrapartida decisiva para o desenvolvimento de suas ideias sobre a civilização luso-tropical, além de constituírem importantes contribuições para a sociologia da imigração no Brasil.
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Oliveira, Orlando Jose Ribeiro de. "TROPICALISMO E BARBÁRIE: RESISTÊNCIA CULTURAL E DITADURA MILITAR NO BRASIL DOS ANOS 1960." Revista Binacional Brasil-Argentina: Diálogo entre as ciências 8, no. 2 (March 29, 2020): 24. http://dx.doi.org/10.22481/rbba.v8i2.6255.

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A partir dos índices do clima repressivo político-policial no Brasil do final dos anos 1960, enunciados nas letras das canções tropicalistas, identifica-se e analisa-se o caráter engajado-insurrecional do discurso musical produzido pelo chamado Grupo Baiano como mecanismo de enfrentamento político e de resistência cultural à barbárie institucionalizada com a consolidação do projeto de modernização autoritária-conservadora da ditadura militar instalada com o golpe de abril de 1964. Destoando do padrão formal do alinhamento dogmático entre arte e política, expresso na temática nacional-popular da canção engajada do período, o Grupo Baiano mediante a intervenção tropicalista, incorporou o imaginário internacional da juventude - rock n’roll (Beatles, Jimi Hendrix, Bob Dylan), drogas, liberdade sexual e rebeldia - à canção urbana, tematizou aspectos da sociedade de consumo (a dimensão mercadológica da música popular) e valorizou a diversidade musical/rítmica brasileira, numa atitude devoradora que retomava o radicalismo da vanguarda antropofágica do Modernismo de 1928.
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Coração, Cláudio Rodrigues. "A crítica e o novo." Rumores 13, no. 25 (June 13, 2019): 32–49. http://dx.doi.org/10.11606/issn.1982-677x.rum.2019.155036.

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O modo de encarar a nostalgia e o antagonismo projetado pelos artistas envolvidos no tropicalismo parecem ser as premissas principais em torno do álbum Alucinação (1976), do cantor e compositor Belchior. A articulação temática e estética do disco imprime, além disso, uma espécie de reflexão crítica interna sobre os movimentos contraculturais na música popular brasileira dos anos 1970. Pretendemos, a partir disso, identificar aspectos de uma certa melancolia nessa produção, por meio dos aportes teóricos sobre a crítica cultural.
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Santos, Daniela Vieira dos. "A formalização da derrota: sobre “Eles” e “A voz do morto”, de Caetano Veloso." Revista do Instituto de Estudos Brasileiros, no. 61 (July 22, 2015): 56. http://dx.doi.org/10.11606/issn.2316-901x.v0i61p56-81.

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Mediante o exame de duas canções de Caetano Veloso de fins da década de 1960 — “Eles” (1968) e “A voz do morto” (1968) —, pretendo compreender como elas revelam o luto aos preceitos caros à esquerda e à política cultural vinculada ao nacional-popular. Por fim, na descrição da crítica de Roberto Schwarz ao tropicalismo e a Caetano Veloso, demonstro como as questões percebidas pelo crítico dialético — por meio da análise do livro de memórias de Caetano Veloso — já estavam expressas no cancioneiro do artista em fins dos anos 1960.
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Duarte, André De Macedo, and Maria Rita De Assis César. "Corpos, gêneros e sexualidades em disputa no Brasil contemporâneo: Bolsonarismo versus Tropicalismo." História: Questões & Debates 69, no. 2 (July 14, 2021): 75. http://dx.doi.org/10.5380/his.v69i2.80036.

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A partir de uma chave teórica filosófico-política de inspiração benjaminiana, discutimos o atual embate em torno aos significados atribuídos aos corpos, gêneros e sexualidades no Brasil, contextualizando a discussão no marco da história brasileira recente. Sem proceder a uma análise exaustiva acerca da história política e cultural brasileira, abordamos o referido confronto a partir da formulação de duas imagens alegóricas, as quais condensam e imantam duas formas opostas de viver, nas quais os corpos, gêneros e sexualidades recebem especial atenção, porém, a partir de duas perspectivas valorativas contrapostas entre si: uma que denominaremos de bolsonarista e outra que chamaremos de tropicalista. Consideramos que o modo como os corpos, gêneros e sexualidades são vividos atualmente constitui um aspecto decisivo para a qualificação do potencial e dos riscos políticos que assediam a democracia brasileira na atualidade.
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Bacchini, Alessandro Melo, Alysson Bruno Martins Assunção, Junia De Vilhena, and Maria Inês Garcia de Freitas Bittencourt. "Aproximações entre Certeau, Winnicott e o antropofagismo cultural / Similarities between Certeau, Winnicott and cultural anthropophagism." Intexto, no. 36 (August 26, 2016): 46. http://dx.doi.org/10.19132/1807-8583201636.46-62.

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O texto apresenta uma análise da expressão poética e identitária de elementos ligados à música popular brasileira, a partir de uma reflexão sobre as teorias do Modernismo e suas aproximações com as obras de pensadores como Michel De Certeau e Donald Winnicott. Tal esforço é direcionado a um objeto cultural, “A prosa impúrpura do Caicó”, de autoria de Chico César. A partir da análise de conteúdo, percebeu-se que o compositor utiliza a paródia e o antropofagismo como estratégia político-ideológica de apropriação da cultura dominante e de refuta ao cânone estabelecido, construindo elementos novos que se remetem à apropriação, à bricolagem e aos sentidos do brincar.Palavras-chaveMúsica Popular Brasileira. Antropofagismo. Bricolagem. Tropicalismo. Chico César.AbstractThis paper presents an analysis of poetic identity and expression elements linked to Brazilian popular music, from a reflection on the theories of modernism and its relationship to the works of thinkers such as Michel de Certeau and Donald Winnicott. This effort is directed to a cultural object, “A Prosa Impúrpura do Caicó”, written by Chico César. From the content analysis, it was noticed that the composer uses parody and anthropophagism as a political and ideological strategy of appropriation of the dominant culture and refutes the established canon, building new elements that refer themselves to the assemblage, bricolage and the meaning of playing.KeywordsPopular Brazilian Music. Anthropophagism. Brigolage. Tropicalism. Chico César.
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Dissertations / Theses on the topic "Tropicalismo e Cultural industry"

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Pires, Carlos Eduardo de Barros Moreira. "Canção popular e processo social no tropicalismo." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-22022010-135938/.

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Nesta dissertação investigamos três dos principais discos tropicalistas - Gilberto Gil (1968), Caetano Veloso (1968) e Grande Liquidação (1968), de Tom Zé procurando identificar marcas do processo social nas canções e atitudes líricas. Essa leitura busca repensar o sentido do tropicalismo no processo de transformação político-cultural do final dos anos 60, decisivo, talvez, para a compreensão da história recente do país.
This dissertation investigates three important tropicalist solo albums - Gilberto Gil (1968), Caetano Veloso (1968) e Grande Liquidação (1968), Tom Zé´s album searching the signs of the social process in its songs and lyrical attitudes. This reading purpose rethinks the meaning of the tropicalismo in the politic and cultural transformation in the late 1960´s, maybe the principal moment to understand the contemporary history of Brazil.
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Santos, Daniela Vieira dos [UNESP]. "Não vá se perder por aí: a trajetória dos mutantes." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/98969.

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Made available in DSpace on 2014-06-11T19:29:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-21Bitstream added on 2014-06-13T20:39:28Z : No. of bitstreams: 1 santos_dv_me_arafcl.pdf: 1452544 bytes, checksum: 97fdb10f293cba39b260f1660f1da05a (MD5)
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Essa pesquisa, com base numa abordagem sócio-histórica da canção, examina a produção musical dos Mutantes, conjunto de pop rock formado em 1966 por Rita Lee, Arnaldo Baptista e Sérgio Dias. Em especial, o nosso objetivo é o de entender o significado histórico do experimentalismo na trajetória do grupo entre fins da década de 1960 e meados da década de 1970, a fim de perceber o motivo da mudança sonora ocorrida no conjunto a partir de 1971. Além disso, procuramos perceber como essas “experimentações” estavam vinculadas aos aspectos mais evidentes da sociedade no período, como, por exemplo, a (re) estruturação da Indústria Cultural Brasileira. Tomamos como referência maior o movimento da contracultura que engendrou, não só no exterior como também no Brasil, significativas transformações na sociedade nos âmbitos moral, comportamental, político, cultural e ideológico. Ainda que possa parecer contraditório, entendemos que foi justamente a reorganização da Indústria Cultural Brasileira que contribuiu para que os Mutantes pudessem realizar as suas várias experimentações sonoras. Contudo, dada a configuração social no campo da música popular brasileira no período posterior à decretação do AI-5, destacando-se nesse campo o fechamento do mercado fonográfico à inventividade sonora e o fim dos festivais da canção, os Mutantes enveredaram para a vertente do rock progressivo, perdendo, portanto, a sua notável peculiaridade musical. A padronização dos instrumentos musicais a partir dos anos 70 também contribuiu substantivamente para que as suas músicas se tornassem pastiche dos grupos de rock anglo-americanos, em detrimento do aspecto paródico que caracterizou os seus primeiros trabalhos.
This research, which was based on a socio-historical approach of the popular song, examines the musical production of the Mutantes, a pop rock group created in 1966 by Rita Lee, Arnaldo Baptista and Sergio Dias. In particular, our goal is to comprehend the historical meaning of “experimentalism” in the trajectory of the group during the period between the end of the sixties and the mid-seventies, in order to identify the reasons for the resonant change which took place in the group from 1971 on. Furthermore, we try to understand how these “experimentations” were linked to the evident aspects of the society of the period, such as the reorganization of the Brazilian Culture Industry. We considered as reference the large countercultural movement, which not only abroad but also in Brazil led to important moral, behavioral, political, cultural and ideological transformations in society. Although it may seem contradictory, we believe that it was precisely the reorganization of the Brazilian Cultural Industry that contributed to the Mutantes’ achievements in their various musical experimentations. However, given the social scenario in Brazilian popular music of the period after the AI-5 Bill, which led, among other things to the closing of the phonographic market in its inventiveness, and to the end of the “Song Festivals”, the Mutantes head for progressive rock, thus losing their remarkable musical peculiarities. The standardization of the musical instruments as from the 70’s resulted on the Mutantes’ poor imitation of American-English rock, loosing their parody aspect which characterized their early records.
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Nascimento, Renato Souza do. "Cultura lúdica da juventude brasileira. Rebeldia e consumo nas páginas da Veja e da Folha de São Paulo nas décadas de 1970 e 1980." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-15072009-222809/.

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Ao se estudar a cultura da juventude, devemos analisá-la dentro do contexto de uma sociedade de consumo. Por isso mesmo, ligada à música e à moda (não no seu sentido estrito). A cultura da juventude brasileira foi pautada principalmente pelas influências musicais internacionais, mas sempre dando uma cara nova aos movimentos juvenis que aqui se criavam, sendo o período entre as décadas de 1970 e 1980, o de maior efervescência e criatividade musical. O objetivo desse trabalho é analisar esse tema com base na sua relação com a indústria cultural, apontando as especificidades da atuação do Mercado, tanto para a mercantilização de movimentos espontâneos da juventude, quanto para as estratégias envolvidas na criação de fenômenos ou modismos. Entender como esse processo se deu no nosso país é essencial para refletir os rumos da juventude atual e sua relação com o consumo. A indústria cultural é formada por vários sistemas, sendo a mídia um deles. Por isso, com base em dois meios de comunicação impressos a revista Veja e o jornal Folha de São Paulo, tentou-se traçar a relação entre a abordagem midiática e a consolidação dos movimentos ou fenômenos musicais pelo mercado cultural.
When studying the culture of youth we should analyze it within the context of a consumer society. Therefore, connected to music and fashion (not in a strict sense). The culture of Brazilian youth has been mostly guided by international musical influences, but the youth movements created here in Brazil have always received a new look, especially between the 70s and 80s, the period with the greater effervescence and musical creativity. The goal of this work is to analyze this issue basing this analysis on its relation with cultural industry, pointing the specifics of markets performance both to the commercialization of spontaneous youth movements as well as to the strategies involved on the creation of phenomena and new fashions. Understanding how that process has happened in our country is essential to think about the directions of the current youth and its relation with consumption. The cultural industry is made up of various systems, including the media. Hence, based on two publications - Veja magazine and Folha de São Paulo newspaper, this work tries to describe the relationship between the media approach and the consolidation of musical movements, or phenomena, by the cultural market.
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Santos, Daniela Vieira dos. "Não vá se perder por aí : a trajetória dos mutantes /." Araraquara : [s.n.], 2008. http://hdl.handle.net/11449/98969.

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Orientador: Eliana Maria de Melo Souza
Banca: José Adriano Fenerick
Banca: José Roberto Zan
Resumo: Essa pesquisa, com base numa abordagem sócio-histórica da canção, examina a produção musical dos Mutantes, conjunto de pop rock formado em 1966 por Rita Lee, Arnaldo Baptista e Sérgio Dias. Em especial, o nosso objetivo é o de entender o significado histórico do experimentalismo na trajetória do grupo entre fins da década de 1960 e meados da década de 1970, a fim de perceber o motivo da mudança sonora ocorrida no conjunto a partir de 1971. Além disso, procuramos perceber como essas "experimentações" estavam vinculadas aos aspectos mais evidentes da sociedade no período, como, por exemplo, a (re) estruturação da Indústria Cultural Brasileira. Tomamos como referência maior o movimento da contracultura que engendrou, não só no exterior como também no Brasil, significativas transformações na sociedade nos âmbitos moral, comportamental, político, cultural e ideológico. Ainda que possa parecer contraditório, entendemos que foi justamente a reorganização da Indústria Cultural Brasileira que contribuiu para que os Mutantes pudessem realizar as suas várias experimentações sonoras. Contudo, dada a configuração social no campo da música popular brasileira no período posterior à decretação do AI-5, destacando-se nesse campo o fechamento do mercado fonográfico à inventividade sonora e o fim dos festivais da canção, os Mutantes enveredaram para a vertente do rock progressivo, perdendo, portanto, a sua notável peculiaridade musical. A padronização dos instrumentos musicais a partir dos anos 70 também contribuiu substantivamente para que as suas músicas se tornassem pastiche dos grupos de rock anglo-americanos, em detrimento do aspecto paródico que caracterizou os seus primeiros trabalhos.
Abstract: This research, which was based on a socio-historical approach of the popular song, examines the musical production of the Mutantes, a pop rock group created in 1966 by Rita Lee, Arnaldo Baptista and Sergio Dias. In particular, our goal is to comprehend the historical meaning of "experimentalism" in the trajectory of the group during the period between the end of the sixties and the mid-seventies, in order to identify the reasons for the resonant change which took place in the group from 1971 on. Furthermore, we try to understand how these "experimentations" were linked to the evident aspects of the society of the period, such as the reorganization of the Brazilian Culture Industry. We considered as reference the large countercultural movement, which not only abroad but also in Brazil led to important moral, behavioral, political, cultural and ideological transformations in society. Although it may seem contradictory, we believe that it was precisely the reorganization of the Brazilian Cultural Industry that contributed to the Mutantes' achievements in their various musical experimentations. However, given the social scenario in Brazilian popular music of the period after the AI-5 Bill, which led, among other things to the closing of the phonographic market in its inventiveness, and to the end of the "Song Festivals", the Mutantes head for progressive rock, thus losing their remarkable musical peculiarities. The standardization of the musical instruments as from the 70's resulted on the Mutantes' poor imitation of American-English rock, loosing their parody aspect which characterized their early records.
Mestre
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Oliveira, Claudio Jorge Pacheco de. "Disco é cultura: a expansão do mercado fonográfico brasileiro nos anos 1970." reponame:Repositório Institucional do FGV, 2018. http://hdl.handle.net/10438/24090.

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Este estudo tem por objetivo investigar a contribuição do artigo 2º da Lei Complementar nº 4, de 2 de dezembro de 1969, conhecida como “Lei disco é cultura”, para a expansão do mercado brasileiro de discos ocorrida na década de 1970. Consequência da política econômica de forte estímulo ao consumo do regime militar, a “Lei disco é cultura” autorizava as empresas produtoras de discos fonográficos a abater, do montante do Imposto sobre Circulação de Mercadorias (ICM), o valor dos direitos autorais artísticos e conexos, pagos aos autores e artistas brasileiros. A busca por investimentos estrangeiros era um aspecto fundamental do modelo econômico da ditadura. A expectativa era que a “maior eficiência” das empresas multinacionais contribuísse para um rápido crescimento. Essa política favoreceu a expansão das gravadoras estrangeiras, que tiveram seus interesses e demandas acolhidos pelo governo.
This study investigates the contribution of article 2 of Complementary Law nº 4, dated December 2, 1969, known as the “Album is Culture Law”, in the expansion of the Brazilian music market in the 1970s. An economic policy of strong stimulus to the consumption of the military regime, the “Album is Culture Law” authorizes record companies to write down, from the amount of the Merchandise Circulation Tax (ICM), the value of artistic copyrights and related, paid to Brazilian authors and artists. The search for foreign investment was a fundamental aspect of the economic model of the dictatorship. The “higher efficiency” of multinational companies was expected to contribute to rapid growth. This policy favored the expansion of foreign record companies, which had their interests and demands accepted by the government.
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Li, Chuang (Austin). "China's skateboarding youth culture as an emerging cultural industry." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34372.

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This thesis focuses on the skateboarding industry in China as both a youth subculture and a cultural industry. I am investigating the transition between the two and examining how the emerging skateboarding industry operates through detailed analysis of the feelings, motivations and meanings attributed to it by its participants and the emerging strata of cultural workers. In order to achieve this research objective, this thesis has positioned the analysis in a triangle of forces between the development of Chinese skateboarding culture, the emerging skateboarding cultural industry and government interventions. This ethnographic study takes into account distinctive characters in the development of Chinese skateboarding communities that signify continuities inside contemporary Chinese youth cultures. I argue that such continuity is still embedded in the organisation of the Chinese skateboarding industry as a cultural industry, in both subcultural and corporate entrepreneurial practices. Moreover, this thesis contributes to ongoing discussions in the field of not only cultural studies but also of the political economic analysis of cultural/creative industries by examining the dynamic incorporations at play between the commercial and governmental forces at the centre of current debate around the inclusion of skateboarding in the Olympic Games, and the consequences of the sportisation of skateboarding in mainstream economic structures. Last but not least, this research captures the working conditions of the cultural labourers who are at the forefront of shaping and reshaping the Chinese skateboarding industry.
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LIMA, ANDRE LUIZ DIAS. "THE YOUTH IN THE LITERARY TEXT AND CULTURAL INDUSTRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5296@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
A presente pesquisa procurou investigar as representações da juventude contidas no texto literário, - particularmente nas crônicas do jornalista e escritor Zuenir Ventura - e na indústria cultural, de modo mais especifico na mídia impressa através da publicação denominada revista MTV. Ao empreender tal investigação, buscou-se contribuir para que o campo da Educação reiterasse o questionamento dos estereótipos forjados em torno das experiências juvenis.
This research tried to investigate the youth s representation in the literary text - particularly by the chronics of the journalist and writer Zuenir Ventura - and in the cultural industry, specificly the media press through the publication called MTV Magazine. Starting this investigation we could see that the Educational area had questions concerning forged stereotypes in youth s experiences.
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Kohorn, Adam B. (Adam Benjamin) 1971. "Influencing process and cultural change in the aerospace industry." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/31081.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering; and, (S.M.)--Massachusetts Institute of Technology, Sloan School of Management, 1999.
Includes bibliographical references (p. 69).
Aerospace equipment manufacturers have expressed considerable frustration with the lack of success in implementing process and cultural change initiatives within their organizations. The objective of this report is to offer more successful methods of designing and executing change initiatives in the aerospace industry. This report provides an analysis of three particular change initiatives in execution at Pratt&Whitney Aircraft at the time of this writing. The successes and failures of three initiatives are analyzed and compared in the context of the major barriers to change faced by the industry. The arguments made in the discussion and in the following conclusions suggest that success depends on the application of entrepreneurial marketing and negotiations theories: 1. Solving a quantifiable, pressing source of pain for the customer 2. Results selling by providing a solution versus solely a technology 3. Focusing on a single customer with the budget and power to employ the new technology 4. Understanding the positions and interests of the parties involved 5. Establishing a bargaining range when faced with resistance 6. Enabling a give and take of concessions and tradeoffs in the bargaining process.
by Adam B. Kohorn.
S.M.
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Vincent, Bérénice. "Cinema, cultural diversity and the globalization process." Thesis, University of the Western Cape, 2005. http://hdl.handle.net/11394/1325.

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Doyle, Aidan. "The colliery aesthetic : cultural responses at the end of industry." Thesis, Durham University, 2001. http://etheses.dur.ac.uk/4275/.

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This thesis is concerned with culture at a time of profound change, when coal mining, hitherto the region's industrial mainstay, has been eradicated. It questions notions of cultural regeneration which do not take existing industrial culture into account. It questions how culture regenerates, and who it regenerate for. Monumental public art works are closely associated with cultural regeneration; yet few have significant association with the landscape. Museum, art gallery and other cultural representations are sustained through public funding. Public art re-images the identity of the landscape as a part of a wider process. Specificity of place, and cultural relevance of lived experience, is contrasted with the art at the core of cultural regeneration. Art appears as a surrogate for missing industrial structures. High art practices colonise the cultural spaces previously occupied by low culture. True representations of mining and miners are suppressed by caricature and stereotype, not cultural reality. In contrast much of the spoken word narrative of colliery working life, informed by aesthetics based in experience, goes unrecorded. This culture is not called upon to participate in the regeneration process. Presentation of mining working life, in its own vernacular, is a verbal demonstration of the colliery aesthetic. Cultural dynamics are perceived in visual and narrative forms. Centring investigation on visual material a body of research is embarked upon which develops methods of social investigation, through the use of images to elicit testimonies. This is carried out in the context of focus groups. Obtaining information through research into cultural understanding invests respondents with the role of cultural representatives: expressing concepts of culture, in their own way, reveals their concerns about culture and its representations. Focus groups consider presentations of mining and other local industrial culture in respect to public spending on public cultural forms. Representations through memory and memorial are also considered.
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Books on the topic "Tropicalismo e Cultural industry"

1

Semana Cultural (7th 1998 Chapecó, Santa Catarina, Brazil). Tropicalismo: Anais, Semana Cultural. Chapecó, SC: Editora Grifos, 1998.

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Tropicalismo, Semana Cultural. Anais, Semana Cultural, Tropicalismo. Chapecó [Brazil]: Grifos, 1998.

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Ponzanesi, Sandra. The Postcolonial Cultural Industry. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137272591.

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Gordon Darling Foundation Seminars (1995 Melbourne, Australia). Transgression and the cultural industry. South Yarra: Australian Centre for Contemporary Art, 1996.

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Jiang, Chang, Jialian Li, Tao Xu, and Haijun Yang, eds. Development of China’s Cultural Industry. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3666-9.

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Cultura, Colombia Ministerio de, ed. Paisaje cultural cafetero: Un paisaje cultural productivo en permanente desarrollo. Bogotá: Ministerio de Cultura de Colombia, 2011.

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Walkley, Sarah. Cultural Diversity in the French Film Industry. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96923-7.

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Whitworth, Juliet. Cultural exchange: The contribution of cultural services to modernised local government. London: LGA Publications, 2002.

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Ivory's cultural importance: A white paper. Los Angeles, California: The Americas Group, 2014.

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Nirwandar, Sapta. Building wow: Indonesia tourism and creativity industry. Jakarta: Penerbit PT Gramedia Pustaka Utama, 2014.

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Book chapters on the topic "Tropicalismo e Cultural industry"

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Papalini, Vanina. "Cultural Industry." In Encyclopedia of Latin American Religions, 384–88. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-27078-4_16.

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Papalini, Vanina. "Cultural Industry." In Encyclopedia of Latin American Religions, 1–5. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-08956-0_16-1.

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Yining, Li. "The cultural industry." In Cultural Economics, 28–57. New York : Routledge, 2020. | Series: China perspectives |: Routledge, 2020. http://dx.doi.org/10.4324/9781003095880-3.

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Brosio, Giorgio. "The Arts Industry: Problems of Measurement." In Cultural Economics And Cultural Policies, 17–22. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-1140-9_2.

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Lee, WonBong, and KyooSeob Lim. "China’s Cultural Industry Policy." In Lecture Notes in Electrical Engineering, 611–19. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-6738-6_75.

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Ponzanesi, Sandra. "Introduction." In The Postcolonial Cultural Industry, 1–7. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137272591_1.

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Ponzanesi, Sandra. "The Postcolonial Cultural Industry: Notes on Theory and Practice." In The Postcolonial Cultural Industry, 8–48. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137272591_2.

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Ponzanesi, Sandra. "Literary Prizes and the Award Industry." In The Postcolonial Cultural Industry, 49–70. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137272591_3.

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Ponzanesi, Sandra. "Boutique Postcolonialism: Cultural Value and the Canon." In The Postcolonial Cultural Industry, 71–90. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137272591_4.

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Ponzanesi, Sandra. "Advertising the Margins: Translation and Minority Cultures." In The Postcolonial Cultural Industry, 91–108. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137272591_5.

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Conference papers on the topic "Tropicalismo e Cultural industry"

1

Lin, Shuao. "Creative Industry: Cultural Production or Cultural Control?" In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.044.

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Liu, Xiaofei, and Lina Han. "Is the Cultural Industry Reasonable in Beijing? – An Empirical Analysis from the Cultural Industry." In 2018 5th International Conference on Industrial Economics System and Industrial Security Engineering (IEIS). IEEE, 2018. http://dx.doi.org/10.1109/ieis.2018.8597891.

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Ridwan, Tati Narawati, Uus Karwati, and Yudi Sukmayadi. "Songah in the Cultural Tourism Industry." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.029.

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Zhou, Xuanjie, and Yuntian Huang. "On the Integration Development of Sports Industry and Cultural Industry." In 2017 International Conference on Innovations in Economic Management and Social Science (IEMSS 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iemss-17.2017.208.

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Si, Shanglin, Xuefang Xie, and Qinliang Liu. "Cultural Industry System Innovation and Cultural Industry Development: Based on the Comparison of Beijing, Shanghai and Shenzhen." In 2020 International Conference on Social Science, Economics and Education Research (SSEER 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200801.058.

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Alexandrovich, Drozhzhin Gennady. "INDUSTRY - PART OF THE WORLD CULTURAL HERITAGE." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-8-9.

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Chen, Yi-Wen. "Value creation in cultural and creative industry." In 2012 IEEE 3rd International Conference on Software Engineering and Service Science (ICSESS). IEEE, 2012. http://dx.doi.org/10.1109/icsess.2012.6269521.

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Niu, Hongjun. "Research on Cultural Industry Clusters Spatial Effects." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.246.

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Liu, Ying. "Basic Theory Study on Cultural Creative Industry." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.331.

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Sun, Hongxia. "Essence of Marx's Cultural Thought and Its Enlightenment to China's Cultural Industry." In 8th International Conference on Social Network, Communication and Education (SNCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/snce-18.2018.175.

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Reports on the topic "Tropicalismo e Cultural industry"

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Torres-Mancera, Rocio, Carlos de las Heras-Pedrosa, Carmen Jambrino-Maldonado, and Patricia P. Iglesias-Sanchez. Public Relations and the Fundraising professional in the Cultural Heritage Industry: a study of Spain and Mexico / Las relaciones públicas y el profesional de la captación de fondos en la industria del patrimonio cultural: un estudio de España y México. Revista Internacional de Relaciones Públicas, June 2021. http://dx.doi.org/10.5783/rirp-21-2021-03-27-48.

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The present research aims to understand the current situation of strategic communication and public relations applied in the professional field of fundraising in the cultural heritage environment. It observes the current patterns used in the sector to obtain and generate long-term sustainable funding, through the stimulation of investors and International Cooperation projects from the European Union in line with UNESCO. Two international case studies are compared: Spain and Mexico, through the selection of territorial samples in Malaga and San Luis Potosi. The methodology used is based on a combination of in-depth interviews with key informants and content analysis. In the first instance, the degree of application of communication and public relations tools for strategic purposes to directly attract economic resources to the management of cultural heritage (tangible and intangible) in the region is studied. In line with the results obtained, the current parameters and key indicators of the profile of the fundraising professional in public and private cultural management are presented.
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Billing, Suzannah-Lynn, Shannon Anderson, Andrew Parker, Martin Eichhorn, Lindsay Louise Vare, and Emily Thomson. Scottish Inshore Fisheries Integrated Data System (SIFIDS): work package 4 final report assessment of socio-economic and cultural characteristics of Scottish inshore fisheries. Edited by Mark James and Hannah Ladd-Jones. Marine Alliance for Science and Technology for Scotland (MASTS), 2018. http://dx.doi.org/10.15664/10023.23450.

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[Extract from Executive Summary] The European Maritime and Fisheries Fund (EMFF) has funded the ‘Scottish Inshore Fisheries Integrated Data System’ (SIFIDS) project, which aims to integrate data collection and analysis for the Scottish inshore fishing industry. SIFIDS Work Package 4 was tasked with assessing the socio-economic and cultural characteristics of Scottish Inshore Fisheries. The aim was to develop replicable frameworks for collecting and analysing cultural data in combination with defining and analysing already available socio-economic datasets. An overview of the current available socio-economic data is presented and used to identify the data gaps. Primary socio-economic and cultural research was conducted to fill these gaps in order to capture complex cultural, social and economic relationships in a usable and useful manner. Some of the results from this Work Package will be incorporated into the platform that SIFIDS Work Package 6 is building. All primary research conducted within this work package followed the University of the Highlands and Islands (UHI) Research Ethics Framework and was granted Ethical Approval by the UHI Research Ethics Committee under code ETH895.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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