Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000)
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | 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 |
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Avelino, Yvone Diashttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4243113T2Corrêa, Elizeu de Miranda2016-04-27T19:31:17Z2016-04-202016-02-26Corrêa, Elizeu de Miranda. Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000). 2016. 403 f. Tese (Doutorado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2016.https://tede2.pucsp.br/handle/handle/12919This 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 definedEssa tese tem como objetivo analisar as disputas, as transformações, as inovações, as permanências e rupturas, as resistências e as negociações, delimitando o recorte deste estudos às Linhas de Frente (LF) que permearam as Bandas Marciais da Grande São Paulo no limiar do século XX, entre os anos de 1957 e 2000. Não obstante, refletir sobre as vicissitudes e os impactos ocorridos na estrutura e nas concepções coreográficas das Linhas de Frente. Bem como perceber as suas formas de representações, os seus significados e os discursos produzidos acerca desses conjuntos ao longo dos anos eleitos para esse estudo. No instante em que se verificou as Linhas de Frente das Bandas Marciais foram protagonistas de uma série de embates e de tensões para permanecerem à frente do Corpo Musical e que essa prática cultural, não se esgota apenas aos seus sujeitos, faz necessário pensar e compreender essa prática cultural no universo acadêmico, justificando, portanto, historicizá-la. Pressupõe-se que, uma das características inerentes das LF ao longo desse percurso histórico, é a sua limitação e insegurança ao enfrentar obstáculos, bem como o comodismo dos instrutores coreógrafos , em não promover a ousadia, ainda que para isso lhe custe a perda de títulos em concursos. Deste modo, é bem possível que, há nela uma dificuldade imensa em se reinventar, tornando-a estável e esgotando-se em sua materialidade. Foi utilizada como recurso teórico metodológico a Imprensa (Jornais e Revistas), Imagens (Fotografias e Filmes), Regulamentos e Planilhas de Notas de Concursos de Fanfarras e Bandas, Leis e Decretos, além do uso das técnicas de História Oral (entrevistas). De modo geral, percebeu-se que as LF constituem uma prática cultural e estética, definida por regras específicas (dança, movimento do corpo, gestos e expressão) certamente incluem ou excluem socialmente os indivíduos que almejam integrá-la. Por outro lado, elas são por excelência o espaço do lazer e da sociabilidade, o espaço do diálogo entre o corpo, o movimento e a música. Pressupõe-se, assim, que ela é detentora de significados e de versões múltiplas que: influência, apaixona, se reinventa e disciplina os seus integrantes, isso de acordo com seus intérpretes. Em síntese, ela é saber, e, talvez por isso não possa ser definidaCoordenação de Aperfeiçoamento de Pessoal de Nível Superiorapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/25626/Elizeu%20de%20Miranda%20Correa.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em HistóriaPUC-SPBRHistóriaLinhas de FrenteFanfarras e bandasCorpo coreográficoFronts LineFanfares and bandsChoreographic GroupsCNPQ::CIENCIAS HUMANAS::HISTORIALinhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000)info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTElizeu de Miranda Correa.pdf.txtElizeu de Miranda Correa.pdf.txtExtracted texttext/plain955087https://repositorio.pucsp.br/xmlui/bitstream/handle/12919/3/Elizeu%20de%20Miranda%20Correa.pdf.txt0f25dbdb42e112240579f2845e696968MD53ORIGINALElizeu de Miranda Correa.pdfapplication/pdf9916752https://repositorio.pucsp.br/xmlui/bitstream/handle/12919/1/Elizeu%20de%20Miranda%20Correa.pdfe10d8c79486f784821162bdecf51f893MD51THUMBNAILElizeu de Miranda Correa.pdf.jpgElizeu de Miranda Correa.pdf.jpgGenerated Thumbnailimage/jpeg1943https://repositorio.pucsp.br/xmlui/bitstream/handle/12919/2/Elizeu%20de%20Miranda%20Correa.pdf.jpgcc73c4c239a4c332d642ba1e7c7a9fb2MD52handle/129192022-04-28 09:38:14.379oai:repositorio.pucsp.br:handle/12919Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-28T12:38:14Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000) |
title |
Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000) |
spellingShingle |
Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000) Corrêa, Elizeu de Miranda Linhas de Frente Fanfarras e bandas Corpo coreográfico Fronts Line Fanfares and bands Choreographic Groups CNPQ::CIENCIAS HUMANAS::HISTORIA |
title_short |
Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000) |
title_full |
Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000) |
title_fullStr |
Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000) |
title_full_unstemmed |
Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000) |
title_sort |
Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000) |
author |
Corrêa, Elizeu de Miranda |
author_facet |
Corrêa, Elizeu de Miranda |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Avelino, Yvone Dias |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4243113T2 |
dc.contributor.author.fl_str_mv |
Corrêa, Elizeu de Miranda |
contributor_str_mv |
Avelino, Yvone Dias |
dc.subject.por.fl_str_mv |
Linhas de Frente Fanfarras e bandas Corpo coreográfico |
topic |
Linhas de Frente Fanfarras e bandas Corpo coreográfico Fronts Line Fanfares and bands Choreographic Groups CNPQ::CIENCIAS HUMANAS::HISTORIA |
dc.subject.eng.fl_str_mv |
Fronts Line Fanfares and bands Choreographic Groups |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS HUMANAS::HISTORIA |
description |
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 |
publishDate |
2016 |
dc.date.accessioned.fl_str_mv |
2016-04-27T19:31:17Z |
dc.date.available.fl_str_mv |
2016-04-20 |
dc.date.issued.fl_str_mv |
2016-02-26 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
Corrêa, Elizeu de Miranda. Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000). 2016. 403 f. Tese (Doutorado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2016. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/12919 |
identifier_str_mv |
Corrêa, Elizeu de Miranda. Linhas de Frente das Bandas Marciais de São Paulo: memórias, tensões e negociações (1957-2000). 2016. 403 f. Tese (Doutorado em História) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2016. |
url |
https://tede2.pucsp.br/handle/handle/12919 |
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por |
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por |
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openAccess |
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Pontifícia Universidade Católica de São Paulo |
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Programa de Estudos Pós-Graduados em História |
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PUC-SP |
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BR |
dc.publisher.department.fl_str_mv |
História |
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Pontifícia Universidade Católica de São Paulo |
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