scholarly journals ENTRE O “POVO” E A “ELITE”: CULTURA POPULAR E APROPRIAÇÃO DIFERENCIAL À LUZ DA PRÁTICA DO FOLCLORE “ALEMÃO” NO BRASILBETWEEN THE “PEOPLE” AND THE “ELITE”: POPULAR CULTURE AND DIFFERENTIAL APPROPRIATION IN THE LIGHT OF THE PRACTICE OF “GERMAN” FOLKLORE IN BRAZIL

2021 ◽  
Vol 18 (1) ◽  
pp. 131
Author(s):  
Lucas Voigt
Keyword(s):  
Popular Culture ◽  
Cultural Practice ◽  
Sociology Of Culture ◽  
Cultural Elite ◽  
Methodological Perspective ◽  
The People ◽  
Cultura Popular ◽  
Symbolic Products

No Brasil, verifica-se a existência de uma elite cultural responsável pela promoção e legitimação do folclore “alemão” autêntico. Tal constatação traz interessantes implicações, que podem ser sintetizadas no seguinte questionamento: “como uma prática cultural de origem popular pode depender de uma elite?”. À luz do aporte teórico- -metodológico da sociologia da cultura e das elites, o artigo propõe uma reflexão e um tensionamento acerca das fronteiras classicamente estabelecidas entre os domínios da cultura erudita e da cultura popular, tomando por base o caso do folclore “alemão” praticado no Brasil. Defende-se a pertinência da noção de “apropriação diferencial” para a análise da cultura popular (de modo geral) e do folclore “alemão” (de modo particular), conceito que possibilita a compreensão das múltiplas circulações, intersecções e apropriações de bens simbólicos entre os domínios do “popular” e do “erudito”, do “povo” e das “elites”, processos característicos e constitutivos dos produtos simbólicos de matriz popular.ABSTRACT In Brazil, it may be verified the existence of a cultural elite responsible for promoting and legitimating authentic “German” folklore. This finding has interesting implications, which can be synthesized in the following question: “How can a cultural practice of popular origin depend on an elite?”. In the light of the theoretical and methodological perspective of the sociology of culture and elites, the article proposes a reflection and problematization on the classically established boundaries between the domains of erudite culture and popular culture, based on the case of “German” folklore practiced in Brazil. I argue in favor of the relevance of the notion of “differential appropriation” for the analysis of popular culture (in general) and “German” folklore (in particular), a concept that allows the comprehension of the multiple circulations, intersections and appropriations of symbolic goods among the domains of “popular” and “erudite”, of the “people” and the “elites”, characteristic and constitutive processes of the symbolic products of popular origin. 

scholarly journals Surveillance in Practice: Operators’ Collective Interpretation of CCTV Images

2020 ◽  
Vol 18 (3) ◽  
pp. 312-327
Author(s):  
Barbara Heebels ◽  
Irina Van Aalst
Keyword(s):  
Group Dynamics ◽  
Cultural Practice ◽  
Control Room ◽  
Daily Work ◽  
Bodily Appearance ◽  
The People ◽  
Informal Practices ◽  
Cctv Surveillance ◽  
Social Sorting

CCTV surveillance is a cultural practice and collective effort. CCTV not only involves a technical assemblage that is used to discipline the surveilled, it is also a social assemblage in which the informal practices of operators play a major role in the multiple interpretations of images. This paper provides insights into the daily work practices and discourses of CCTV operators and their supervisors through observations of and interviews in the control room of public CCTV surveillance in Rotterdam. By providing a better understanding of the role of people in socio-technical assemblages, this paper contributes to the discussion on human mediation in computerized networks. The paper contributes to the expanding literature on surveillance as a cultural practice by combining insights on social sorting with insights on collective evaluation of unfolding situations—i.e., how group dynamics within the control room influence how people are “judged.” Building on Goffman’s frame analysis, the paper reveals the crucial role of talk and humor in re-performing what happens on the streets as well as evaluating situations and the people watched. Moreover, it discusses how these collective re-performances of what is being watched both reproduce and reshape “othering” practices within the control room. The paper shows how humorous utterances play an important part in overcoming hierarchy and collectively managing emotions, and explores how this humor influences profiling on the basis of bodily appearance.

Rain or Shine Shield: Language and Ropes of Sadok Making

2020 ◽  
Author(s):  
Loyalda T. Bolivar ◽  
Keyword(s):  
Indigenous Knowledge ◽  
Economic Activity ◽  
Participant Observation ◽  
The Philippines ◽  
Cultural Practice ◽  
Cultural Tradition ◽  
Way Of Life ◽  
The People ◽  
Hands On ◽  
Materials Used

A sadok or salakot is a farmer’s cherished possession, protecting him from the sun or rain. The Sadok, persisting up to the present, has many uses. The study of Sadok making was pursued to highlight an important product, as a cultural tradition in the community as craft, art, and part of indigenous knowledge in central Antique in the Philippines. Despite that this valuable economic activity needs sustainability, it is given little importance if not neglected, and seems to be a dying economic activity. The qualitative study uses ethnophenomenological approaches to gather data using interviews and participant observation, which aims to describe the importance of Sadok making. It describes how the makers learned the language of Sadok making, especially terms related to materials and processes. The study revealed that the makers of Sadok learned the language from their ancestors. They have lived with them and interacted with them since they were young. Sadok making is a way of life and the people observe their parents work and assist in the work which allows them to learn Sadok making. They were exposed to this process through observations and hands-on activities or ‘on-the-job’ informal training. They were adept with the terms related to the materials and processes involved in the making of Sadok as they heard these terms from them. They learned the terms bamboo, rattan, tabun-ak (leaves used) and nito (those creeping vines) as materials used in Sadok making. The informants revealed that the processes involved in the making of Sadok are long and tedious, starting from the soaking, curing and drying of the bamboo, cleaning and cutting these bamboo into desired pieces, then with the intricacies in arranging the tabun-ak or the leaves, and the weaving part, until the leaves are arranged, up to the last phase of decorating the already made Sadok. In summary, socialization is one important factor in learning the language and a cultural practice such as Sadok making. It is an important aspect of indigenous knowledge that must be communicated to the young for it to become a sustainable economic activity, which could impact on the economy of the locality. Local government units should give attention to this indigenous livelihood. Studies that would help in the enhancement of the products can likewise be given emphasis.

scholarly journals O GROTESCO NO CINEMA – POR UM VISIONAMENTO BAKHTINIANO GROTESQUE IN CINEMA – FOR A BAKHTINIAN APPROACH

2018 ◽  
Vol 23 (1) ◽  
Author(s):  
Alexandre Silva GUERREIRO
Keyword(s):  
Popular Culture ◽  
Panoramic View ◽  
Cultura Popular

RESUMO. O conceito de grotesco apresenta um longo desenvolvimento, desde o Romantismo do século XIX, até os escritos de Bakhtin que atrelam sua essência à cultura popular. A existência de vertentes diversas, como o grotesco realista e o grotesco romântico, nos convida a pensar de que maneira esse conceito vem se transformando para, em seguida, abordar a sétima arte através de uma visão panorâmica que nos permita afirmar a presença de um cinema do grotesco, bem como diferenciar qual tipo de grotesco está presente em cada filme, abrindo novas possibilidades de leitura da arte cinematográfica.PALAVRAS-CHAVE: Bakhtin; Cinema; Grotesco Realista; Grotesco Romântico.ABSTRACT. The concept of grotesque presents a long development, from Romanticism of century XIX, to the writings of Bakhtin that link its essence to the popular culture. The existence of different slopes, such as the realistic grotesque and the romantic grotesque, invite us to think in what way this concept has been transformed and how we can approach the seventh art with a panoramic view that allows us to affirm the presence of a grotesque cinema, as well as differentiate what kind of grotesque is present in each film, opening new possibilities for reading the cinematographic art.KEYWORDS: Bakhtin; Cinema; Realism Grotesque; Romantic Grotesque.

scholarly journals Representações sociais e educação ambiental: surdos no filme A gangueSocial representations and environmental education: deaf on the film The tribe

2018 ◽  
Vol 35 (1) ◽  
pp. 76-91
Author(s):  
Saionara Figueiredo Santos ◽  
Fabiana Paula Bubniak ◽  
Bruno Panerai Velloso
Keyword(s):  
Popular Culture ◽  
Environmental Education ◽  
Social Representations ◽  
Linguistic Minority ◽  
Deaf Students ◽  
Santa Catarina ◽  
Theoretical Approaches ◽  
Federal Institute ◽  
The Social ◽  
Cultura Popular

Este artigo é reflexo do aprofundamento do estudo apresentado no VII Encontro e Diálogos com a Educação Ambiental. Neste pretendemos destrinchar as representações sociais de sujeitos surdos, presentes no filme A Gangue (2014).. A partir do projeto de extensão intitulado “Cineclube Surdo”, executado junto aos servidores e alunos do Instituto Federal de Santa Catarina, campus Palhoça Bilíngue (o qual atende surdos em sua prioridade), tínhamos como objetivo principal apresentar à comunidade produções cinematográficas realizadas por sujeitos surdos ou que representem a cultura dessa minoria linguística. No caso do filme A Gangue, este estava entre estas produções o filme escolhido para ser objeto de análise deste estudo. Assistiram este filme alunos surdos e ouvintes e servidores do campus, além de membros das associações de surdos catarinense. Após assistirem o filme, foi realizado um debate orientado por questões acerca da representação dada ao surdo, a estética dada a esta temática e a linguagem utilizada. A discussão foi estimulada, focada na representação surdo como criador no campo da arte e da importância do ensino de técnicas audiovisuais que podem dar voz a esse público na cultura popular. Neste estudo, buscamos articular as falas coletadas destas discussões com as abordagens teóricas da Educação Ambiental, evidenciando novas perspectivas de articulação e o seu caráter transcendental. This article reflects the deepening of the study presented at the VII Meeting and Dialogues with Environmental Education. In this we intend to unravel the social representations of deaf subjects, present in the film The gang. From the extension project "Cineclube Surdo", executed with the servers and students of the Federal Institute of Santa Catarina, campus Palhoça Bilingual (which attends deaf in its priority), we had as main objective to present to the community cinematographic productions made by subjects deaf or representing the culture of this linguistic minority. In the case of the film The gang, this was between these productions the film chosen to be object of analysis of this study. This film was watched by deaf students and listeners and servers of the campus, as well as members of associations of the deaf from Santa Catarina. After watching the film, a debate was conducted, guided by questions about the representation given to the deaf, the aesthetics given to this theme and the language used. The discussion was stimulated, focused on deaf representation as a creator in the field of art and the importance of teaching audiovisual techniques that can give voice to this public in popular culture. In this study, we sought to articulate the statements collected from these discussions with the theoretical approaches of Environmental Education, evidencing new perspectives of articulation and its transcendental character.

scholarly journals Memeification of Black Women’s Trauma

2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Natalie Stravens
Keyword(s):  
Popular Culture ◽  
Black Women ◽  
Western Culture ◽  
Black Feminist ◽  
Black Lives Matter ◽  
The People ◽  
Online Spaces ◽  
History Of

This piece discusses the online and offline discourses on the lives and bodies of Black femme and nonbinary individuals and the harm that is so casually inflicted upon us. Through popular stories of harm performed around famous Black women, such as with rapper Megan Thee Stallion, I connect the history of Black women in popular culture to current online spaces that continue to minimize and trivialize our trauma. I seek to highlight that these stories are not an anomaly, but rather sentiments rooted in the misogynoir that is so entrenched in western culture and have been expanded and weaponized within the online sphere. In addition, the piece challenges the universality of the Black Lives Matter (BLM) movement in its implementation, criticizing its propensity to forget its feminine victims. It is important to emphasize where it has failed and where it needs to be intentional about the people it has overlooked, as this is a movement that began online, where this harm is currently taking place, and at the hands and energies of Black femmes, the very people getting hurt. This piece has manifested from many conversations already occurring in online Black feminist spaces about our treatment and our needs. It invites others into the fold and seeks to encourage individuals to critically reflect on how Black femme and non-binary individuals are presented on their timeline in-between the numerous BLM posts that claim to protect them.

Entre a cultura popular e a resistência: a trajetória de Lina Bo Bardi e Hélio Oiticica | Between popular culture and resistance: the trajectory of Lina Bo Bardi and Hélio Oiticica

2021 ◽  
Vol 18 ◽  
pp. 1
Author(s):  
Paulo Arthur Silva Aleixo ◽  
Eline Maria Mora Pereira Caixeta
Keyword(s):  
Popular Culture ◽  
Rio De Janeiro ◽  
Sao Paulo ◽  
Status Quo ◽  
São Paulo ◽  
Cultura Popular

Durante os primeiros anos da década de 1960, no período que permeia o golpe militar no Brasil, houve um momento singular em que os profissionais das artes e da arquitetura estiveram interessados em sair de suas estritas esferas, posicionando-se politicamente ao repensar a produção cultural e visando estreitar a relação com as camadas populares e mudar a situação estabelecida. Nesse contexto, dentre diversos agentes, pode-se recortar os nomes da arquiteta ítalo-brasileira Lina Bo Bardi (Roma, 1914 – São Paulo, 1992) e do artista carioca Hélio Oiticica (Rio de Janeiro, 1937 – Rio de Janeiro, 1980) como protagonistas na construção de um pensamento que buscou, sobretudo, caminhos para questionar o status quo. Atuando em lugares distintos e pertencentes a diferentes gerações e campos de atuação, suas trajetórias em nenhuma ocasião se cruzaram, apesar de apresentarem uma forte afinidade de convicções. Sendo assim, este trabalho busca mobilizar uma reflexão acerca das interlocuções entre as produções de Bo Bardi e de Oiticica com a cultura popular, reconhecendo essa aproximação como uma forma de resistência à difícil realidade do Brasil durante a ditadura militar. Para tanto, determinadas atividades desenvolvidas são colocadas em uma mesma perspectiva e analisadas,objetivando contribuir para a imagem de um potente fenômeno cultural que lutou por um maiorengajamento social e político.

Popular China: Unofficial Culture in a Globalizing Society. Edited by Perry Link, Richard P. Madsen and Paul G. Pickowicz. [Lanham, NY: Rowman and Littlefield, 2002. 316 pp. Hardcover $75.00, ISBN 0-7425-1078-6; paperback $21.95, ISBN 0-7425-1079-4.]

2003 ◽  
Vol 176 ◽  
pp. 1100-1102
Author(s):  
Thomas Moran
Keyword(s):  
Popular Culture ◽  
Migrant Workers ◽  
Rural Women ◽  
Individual Identity ◽  
The People ◽  
Chinese Popular Culture ◽  
The Way

The dozen chapters in this book, based on papers for a 1999 conference, comprise an interdisciplinary glimpse into the increasingly diverse and contradictory world of Chinese popular culture. A theme of Popular China is representation: most of the chapters examine the way in which group and individual identity is represented (in newspapers, magazines, popular sayings, and advertisements, and in the stories people tell about their lives). Many of the authors draw on surveys and interviews – of young basketball fans, rural women, home owners in Shanghai, migrant workers, and entrepreneurs – allowing the people of China to speak for themselves. The book contains nothing that is revelatory (especially for anyone who visits China regularly and reads Chinese), but it provides a detailed, informed look at each of several phenomena often noted only in passing.

‘The show of the people’ against the cultural elites: Populism, media and popular culture in Turkey

2019 ◽  
Vol 22 (5-6) ◽  
pp. 942-957 ◽  
Author(s):  
Burak Özçetin
Keyword(s):  
Popular Culture ◽  
Status Quo ◽  
The Political ◽  
Media Discourse ◽  
Cultural Products ◽  
Cultural Artifact ◽  
Justice And Development Party ◽  
The People ◽  
Party Elites ◽  
The Relationship

This article explores the relationship between populism, media and popular culture in Turkey by focusing on a phenomenal historical television series, Diriliş: Ertuğrul, and the discursive spaces opened by the show. The author relies on a symptomatic analysis of populism which conceptualizes the term as an anti-status quo discourse that simplifies the political space by symbolically dividing the society between ‘the people’ and its other, more specifically ‘the elites’. Diriliş is promoted by the Justice and Development Party ( Adalet ve Kalkınma Partisi) elite and pro-government media as ‘the show of the people’, and as a cultural artifact belonging to the people. The show has been embraced as an alternative to morally degenerate cultural products of alienated Westernist/Kemalist cultural elites. The Justice and Development Party elites used every opportunity to incorporate the series into its populist political program. The article focuses on a specific crisis moment, ‘The Golden Butterfly Awards 2016’, and the ensuing debates to show how media discourse can resonate with the populist political discourse of a political party.

Elitist Egalitarianism: Negotiating Identity in the Norwegian Cultural Elite

Sociology ◽  
2015 ◽  
Vol 51 (3) ◽  
pp. 559-574 ◽  
Author(s):  
Jørn Ljunggren
Keyword(s):  
Cultural Capital ◽  
Present Article ◽  
Qualitative Interviews ◽  
Cultural Elite ◽  
The People ◽  
Cultural Taste

The cultural elite are believed to be under siege due to significant changes in the ‘workings’ of cultural capital. Despite such changes, there is very little information about the class subjectivities of the ‘cultural elite’ themselves. The present article seeks to contribute to this shortcoming by taking advantage of in-depth qualitative interviews with individuals possessing great levels of cultural capital in a highly egalitarian country, Norway. This study shows that while the interviewees experience lack of recognition and honour from ‘the people’, they are far from passively descending. The main demarcation to other groups seems not to be cultural taste, but instead the orientation towards culture, broadly defined. While egalitarian sentiments are voiced, this does not hinder cultural elite awareness, but rather dampens how this can be expressed in public – merged into a form of elitist egalitarianism.

Sign in / Sign up

Export Citation Format

Share Document