Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
Corrêa, Elizeu de Miranda
 |
| Orientador(a): |
Avelino, Yvone Dias |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em História
|
| Departamento: |
História
|
| País: |
BR
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/12919
|
Resumo: |
This thesis aims to analyze the disputes, transformations, innovations, permanencies and ruptures, the resistances and negotiations, outlining the approach of this study to front lines (LF) that permeated the Martial Band of Grand São Paulo in the twentieth century, between years 1957 and 2000. However, reflecting on the events and the impacts occurred in the structure and choreographic conceptions of front lines. Their forms of representations, their meanings and discourses produced on these sets over the years chosen for this study. In the moment it was noticed the front lines Martial bands were protagonists of a series of clashes and tensions to stay ahead of the Musical Group and that this cultural practice is not limited only to its subject, it is necessary to think and understand this cultural practice in the academic scenario , justifying thus historicizing it. It is assumed that one of the inherent LF features along this historic route, it is your limitation and insecurity when facing obstacles, and the indulgence of the instructors "choreographers" in not promote the boldness, even if this costs you loss of titles in competitions. Thus, it is quite possible that it has a huge difficulty to reinvent itself, making it stable and exhausting in its materiality. It was used as a methodological theoretical resource use of the Press (Newspapers and Magazines), Images (Pictures and Movies), Regulations and fanfare and bands, laws and Decrees, and the use of oral history techniques (interviews). Overall, it was realized that the LF constitute a cultural practice and aesthetics defined by specific rules (dance, body movement, gestures and expression) certainly include or socially excluded individuals who aim to integrate it. On the other hand, they are for excellence the space of leisure and sociability, the space of dialogue between the body, movement and music. It is assumed, therefore, that it holds meanings and multiple versions: influence, love, reinvents itself and discipline its members, that according to its proponents. In short, it is to know, and maybe so cannot be defined |
