Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
Cunha, Marina Roriz Rizzo Lousa da
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| Orientador(a): |
Lima Filho, Manuel Ferreira
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| Banca de defesa: |
Lima Filho, Manuel Ferreira,
Santos, Myriam Sepúlveda dos,
Viana , Nildo Silva,
Cândido, Manuelina Duarte,
Abreu, Regina Maria do Rego Monteiro de |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal de Goiás
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| Programa de Pós-Graduação: |
Programa de Pós-graduação em Sociologia (FCS)
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| Departamento: |
Faculdade de Ciências Sociais - FCS (RG)
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| País: |
Brasil
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| 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: |
http://repositorio.bc.ufg.br/tede/handle/tede/6838
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Resumo: |
In post-modern times the market invades the most diverse institutions. Everything becomes a commodity. The culture, for example, is rearranged, borrowing aspects of a global industry, such as the rules of the market. The cultural dimension is moved from its original meaning. A new social dynamic, which will also be absorbed by a world that until then lived part: the museum world. These entities rather self-centered are forced nowadays to walk towards efforts to suit the demands of social groups. Suffer hybridization processes, shall be organized in a new guise, combining up and generating new structures, objects and practices. Institutions self-centered, many go to structure themselves as mass media. In this context, even the dimension of power seems to be reorganized: a vertical and bipolar structure changes into decentralized and multidetermined sociopolitical relations, where new voices and discourses emerge with power and authority. In this context, adapted to contemporary logic, how can museums secure their position as class values legitimating spaces? The new contemporary guise may just be a new operating mode which will try to secure, in the postmodern context, the construction of a new consensus on the role of museums. It can also camouflage their true role: the maintenance of class hegemony. On this basis, this thesis aims to understand the contemporary dynamics of the elite’s cultural institutions, especially art museums. It wants to structure the sociological model by which these organisms are configured today. To do so, it uses the comparative study as a procedure, and two geographically distant cases, one in Minas Gerais, Brazil, Inhotim Institute, and another in Missouri, United States, the Saint Louis Art Museum, as theoretical framework. In theoretical terms, it is based on authors such as Canclini (2008), Gramsci (2006), Hyussen (1995), Foucault (1999), Bennett (1995) and Bourdieu and Darbel (2007). |
