Programa de Pós-Graduação em História
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Master Thesis "Nordeste sangrento": as reportagens de Severino Barbosa para o Diário de Pernambuco (1966-1967)(Universidade Federal do Rio Grande do Norte, 2025-07-04) Paiva, Alan Abel Cavalcante; Costa, Bruno Balbino Aires da; https://orcid.org/0000-0003-3538-182X; http://lattes.cnpq.br/6237253183382621; http://lattes.cnpq.br/2255808333883305; Albuquerque Júnior, Durval Muniz de; https://orcid.org/0000-0003-4153-9240; http://lattes.cnpq.br/7585947992338412; Falcão, Marcilio Lima; http://lattes.cnpq.br/5594231476327875; 51974096300This dissertation analyzes a series of reports on banditry in the Northeast, written by Severino Barbosa and published in the Diário de Pernambuco between 1966 and 1967, in which the phenomenon is organized into three cycles: the cangaceiro cycle, the jagunço cycle, and the pistoleiro cycle. Although each cycle has its own particularities, they are all based on a discourse that characterizes the Northeast region as an essentially violent space, and this study seeks to interpret how this interpretation was constructed. Initially, the research traces a brief trajectory of the journalist within the dynamics of the media conglomerate to which he was linked, his transition through different spheres of society, and the production process of his series. Next, it delves into the reports, identifying the references mobilized. This work uses as sources the series on banditry, in addition to other productions written by Severino Barbosa published in different media and their repercussion in the press. The study, which is qualitative in nature, uses the methodological procedures of Heloísa de Faria Cruz and Maria do Rosário da Cunha Peixoto (2007) and Tânia Regina de Luca (2008), which guide the analysis of the spatial, political, economic and social dimensions of the press. In addition, it uses the semiolinguistic analysis of Patrick Charaudeau's discourse (2013) to explore the elements of journalistic writing, while the works of Ana Maria Mauad (1993; 2005a; 2005b; 2006) provide support for interpreting the photographs present in the reports, raising hypotheses about the meanings attributed to them. In general terms, this dissertation aims to demonstrate that Severino Barbosa, although he engages in dialogue with different perspectives, manages to produce his own interpretation of the Northeast, which generates an impact on the readers who consume it through the pages of the newspaper.Master Thesis Do Centro Popular de Cultura ao Globo Repórter: a centralidade do Nordeste na formação fílmica de Eduardo Coutinho (1962-1979)(Universidade Federal do Rio Grande do Norte, 2024-11-06) Araújo, Bruno Wesley Soares da Costa; Sales Neto, Francisco Firmino; https://orcid.org/0000-0001-9647-4638; http://lattes.cnpq.br/3836760295812952; http://lattes.cnpq.br/0087053329102664; Santiago Júnior, Francisco das Chagas Fernandes; https://orcid.org/0000-0003-2690-5222; http://lattes.cnpq.br/8893350729538284; Uhle, Ana RitaThis dissertation investigates the centrality of the Northeast, particularly the Sertão region, in the film production of the filmmaker Eduardo de Oliveira Coutinho (1933– 2014), focusing on his work during his time with the Centro Popular de Cultura and Globo Repórter (1962–1979). First, I situate the filmmaker within the spaces of engaged art in the 1960s and his initial contact with the Northeast. In the second and third parts, I explore how the Northeastern Sertão became a central spatiality for his formation and representation of the Sertanejo other. Marking his movement through the region, I conceptually work with the categories of space and place from Yi-Fu Tuan (2013) and with a social conception of Sertão as formulated by Candice Vidal e Souza (2015). Methodologically, I analyze representations of the Sertão in the fictional feature film Faustão (1970), using the classical narrative and film segmentation approaches proposed by David Bordwell and Kristin Thompson (2005, 2013), as well as the narrator concept developed by Ismail Xavier (2019). In analyzing the documentary reports Seis Dias de Ouricuri (1976), O Pistoleiro de Serra Talhada (1977), Theodorico, o Imperador do Sertão (1978), and Exu, uma Tragédia Sertaneja (1979), I draw on the category of voice and the expository, observational, and participatory modes proposed by Bill Nichols (2005, 2016). Thus, the research highlights that Eduardo Coutinho's cinematic trajectory was primarily shaped by his social and cultural relationships with the Sertão and the Northeast, placing these regions at the core of his interests throughout the 1960s and 1970s. This movement connects him to and embeds him within a mode of thinking and seeing the region that is characteristic of Brazilian social thought.Doctoral Thesis Entre o litoral e o sertão: Mauro Mota e seus espaços de experiência (1940-1980)(Universidade Federal do Rio Grande do Norte, 2024-08-19) Silva, Maria Samara da; Peixoto, Renato Amado; https://orcid.org/0000-0002-2342-4215; http://lattes.cnpq.br/4329353374197075; https://orcid.org/0000-0003-1774-6709; http://lattes.cnpq.br/6091947520643987; Santos, Magno Francisco de Jesus; Arrais, Raimundo Pereira Alencar; Teixeira, Flávia Weinstein; Amaral, Tércio LimaThis thesis collates the research about Mauro Ramos da Mota e Albuquerque (1908-1983). Considering it’s vast and diverse bibliography written between 1940 and 1970, the primary objective of this research was the analysis of this bibliography, focusing on the relations between the author ant the space and comprehending how Mauro Mota affects and is affected by those censorial dimension and the cultural impact of such interactions. Considering that the author bibliography present the specialties: the city of Recife, Sertão and the littoral of Zona da Mata. Besides treating the relations between the spaces, this research analyzed how this relation interfered on Mota’s political positions, as member of a northwestern intellectual, we want to demonstrate how this author's way of visualizing and representing those spaces was directly linked to his maneuvers within his intellectual field and in his relationship with the spheres of political and economic power, during his time as head of cultural institutions such as Fundação Joaquim Nabuco, Academia Pernambucana de Letras and at Diário de Pernambuco. To carry out these two tasks, a personal collection of works by the author is used in addition to sources available in the collection of Mauro Mota at Fundação Joaquim Nabuco and on digital collection of Diário de Pernambuco from the Hemeroteca Nacional. As a methodological perspective, discourse analysis via Michel Pêcheux is used to analyze Mota's texts. We also used Pierre Bourdieu to map and analyze Mota's journey within his intellectual field. When dealing with the relationship between subject and spaces, this investigation seeks to relate categories such as place, landscape, literary cartography, nature and intellectual field.Doctoral Thesis O médico, os músicos e o monstro: Josué de Castro, o Manguebeat e o heavy metal na (re)presentação do Nordeste(Universidade Federal do Rio Grande do Norte, 2023-10-02) Ramalho, Renan Vinícius Alves; Peixoto, Renato Amado; https://orcid.org/0000-0002-2342-4215; http://lattes.cnpq.br/4329353374197075; http://lattes.cnpq.br/2075584196997606; Paranhos, Adalberto de Paula; Furtado Filho, João Ernani; Santos, Magno Francisco de Jesus; https://orcid.org/0000-0002-2218-7772; http://lattes.cnpq.br/9046069221784194; Arrais, Raimundo Pereira Alencar; https://orcid.org/0000-0003-1731-1000; http://lattes.cnpq.br/8252775667149757This work aims to understand how the circulation and transformation of the images and concepts of the novel Homens e caranguejos (published in 1965), by Josué de Castro, took place in the 1990s in their relationship with the debates on the spatial representations of northeastern regionality. We started from two assumptions: the fact that, in his fiction, the author recycled notions and characters outlined in previous writings (from short stories from the 1930s, to his geographical and sociological productions in the following decades) as well as what Castro called of the autobiographical dimension of his literary text. From this, we first analyzed the operation that resulted in the novel, in which a correlation was observed between spatial representations and a personal meaning in the author's writing, in order to support the subsequent examination of the readings of such content by the subjects of our study. cutout. In the end, it was found that Josué de Castro's images and concepts, when placed in different times and spaces, assumed original and unpredictable meanings, eventually breaking the awareness of their bond with the author. In this regard, emphasis is placed on the meaning that such content took on from the readings carried out by the exhibition Homem-gabiru: catalogação de uma espécie (exhibition of photographs, illustrations and texts that took place in Recife in 1992) and by Manguebeat (an artistic movement that took place in the capital of Pernambuco in the 1990s, which proposed a vision of local culture that was updated and open to global influences). In this sense, we investigated how such experiences went beyond the local space, being thematized in the national press, giving new meanings to concepts inspired by Josué de Castro, as well as in broader cultural circuits, such as the US metal scene, given its influence on albums Roots (1996), by Sepultura, and Soulfly (1998), debut album by the band of the same name. Castro's writings, periodicals and various artistic productions, such as booklets, songs and video clips, were used as sources.Master Thesis (Re)cantos de saudade da terra natal: a construção sonora do nordeste na obra de Luiz Gonzaga (1941-1968)(Universidade Federal do Rio Grande do Norte, 2022-05-31) Souza, Paulo Higor Duarte de; Albuquerque Júnior, Durval Muniz de; https://orcid.org/0000-0003-4153-9240; http://lattes.cnpq.br/7585947992338412; https://orcid.org/0000-0002-9630-9023; http://lattes.cnpq.br/3617419783978164; Sales Neto, Francisco Firmino; https://orcid.org/0000-0001-9647-4638; http://lattes.cnpq.br/3836760295812952; Paranhos, Adalberto de PaulaThe present paper proposes to discuss how a certain regime of audibility linked to the northeastern region was organized from the instrumentalization of a sound archive linked to this region in the work of the accordion player from Pernambuco, Luiz Gonzaga (1912-1989). To do so, we will concentrate the analysis on the artist's performance on the radio, more specifically on the program "No Mundo do Baião" (1950-1951), starring him and his main songwriting partners - Humberto Teixeira (1915-1979) and Zé Dantas (1921-1962) - on Rádio Nacional. Starting from this documentation and clipping, we seek to show how the construction of given spatialities is linked to a symbolic apprehension and composition of space, which in the case in question involves the articulation of elements, sound marks and fundamental sounds attributed to the Northeast and that confer on the region a pretended aesthetic, cultural and formal purity. A deeper analysis of Luiz Gonzaga's work will allow us to understand the historical conditions of possibility for the emergence of the baião and the other rhythms influenced by Gonzaga in the enunciation of a Northeastern soundscape through the mechanisms of radio production in Rio de Janeiro in the 1950s. In this sense, this paper will seek to narrate the process of composition of this spatiality in Gonzaga's work through the articulation of formal and aesthetic elements and the "sound archive" that tried to fix to the region its alleged authenticity and purity, with the material conditions of production, reception and circulation of music in the large centers of Brazil in the exposed cut, as well as the trajectory of the artist himself, his paths and mishaps until his consecration as an "artist from the brazillian Northeast".