scholarly journals Senderos paralelos y atajos oblicuos

ILUMINURAS ◽  
2011 ◽  
Vol 12 (28) ◽  
Author(s):  
Ariel Gravano
Keyword(s):  
Popular Culture ◽  
Academic Context ◽  
Cultura Popular ◽  
The World ◽  
Organizational Anthropology

Se trata de desandar reflexivamente una trayectoria profesional en el contexto histórico-académico de la Antropología en la Argentina durante cuatro décadas, actualizando, como ejes impulsores, algunos interrogantes: ¿Cómo colaborar con efectividad para producir las rupturas prácticas y simbólicas más necesarias en los modos que tenemos de hacer las cosas dentro de procesos que permitan orientar el mundo en que vivimos hacia sociedades realmente justas e igualitarias, esto es: sin explotación? ¿De qué manera este propósito puede articularse con la producción de conocimiento antropológico propio y de la disciplina en su diversidad de enfoques, sin necesidad de colocar la tarea profesional como algo paralelo a la colaboración con el cambio? ¿Cómo articular dialécticamente este aporte profesional desde la investigación y la facilitación de procesos concretos? Entre preguntas, memorias y olvidos, aquí estoy, rindiendo en forma individual alguna cuenta con mi propia trayectoria, que –como se verá- tiene mucho más de “pendiente” que de resultados y méritos: mucho más en el debe que en el haber. Palavras clave: Antropología argentina. Cultura popular. Antropología urbano-barrial. Antropología organizacional.   Parallel paths and oblique shortcuts Abstract It has to do with retracing in a reflexive manner a professional trajectory in the historical-academic context of Anthropology in Argentina during four decades, upgrading, as impeller axes, some queries: How to collaborate with effectiveness to produce the most necessary practical and symbolic ruptures in the ways that we make things inside processes that allow to guide the world in which we live in toward truly fair and equal societies, that is: without exploitation? How can this purpose be articulated with the production of proper anthropological knowledge and of the discipline in its diversity of focuses, without having to place the professional task as something parallel to the collaboration change? How to articulate this professional contribution in a dialectical way from research and the facilitation of concrete processes? Among questions, memoirs and omissions, here I am, individually rendering account of my own trajectory, which - as will be seen - has a lot more "pending" than “done with honors”: there is much more in the debit side than on the credit side. Keywords: Argentinean anthropology. Popular culture. Anthropology urban-neighbourhoodness. Organizational anthropology. 

scholarly journals Los destinos cruzados de la imposibilidad. Perspectivas de género en torno al Museo del Pueblo Español en compañía de Carmen Baroja y Nessi = The Crossed Destinies of Impossibility. Gendered Perspectives on the Museum of the Spanish People in the Company of Carmen Baroja y Nessi

2020 ◽  
pp. 171
Author(s):  
Rafael Sánchez-Mateos Paniagua
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Women Professionals ◽  
Traditional Culture ◽  
Folk Culture ◽  
Direct Role ◽  
Cultura Popular ◽  
The World ◽  
Identity Based ◽  
Estudios Culturales

Los museos y archivos de cultura tradicional popular conciernen intensamente a la memoria material de los trabajos reproductivos que sostienen la vida realizados por mujeres, pero también a los lazos intelectuales y profesionales que muchas de ellas, con relativa frecuencia, establecieron con el campo de la etnología y la etnografía y sus instituciones. En el marco de los estudios culturales, este artículo explora estos museos considerados menores, invisibles o irrelevantes para el presente, a menudo almacenados, dispersos y subalternizados, sino desaparecidos. Específicamente, se analiza el caso del malogrado Museo del Pueblo Español (1934-1993) y el papel que en él desempeñaron distintas mujeres, en especial Carmen Baroja y Nessi (1883-1950). Sus memorias autobiográficas invitan a explorar cómo una experiencia de modernidad y feminista puede vincularse a una sensibilidad interclasista en torno a la cultura popular tradicional de manera no esencialista o identitaria, sino material y vital. Un enfoque que puede ser inspirador a la hora de pensar alternativas al orden androcéntrico del mundo, útiles en el trabajo de imaginar, no solo un museo feminista, sino también una nueva sociedad. AbstractFolk museums and the archives of traditional culture are intensely related not only to the material memory of the reproductive and life-sustaining work carried out by women, but to the intellectual and professional links that many women quite often established both with ethnology and ethnography, and their respective institutions. Within the framework of cultural studies, this article addresses these minor and ‘ghost’ museums of folk culture, those either considered irrelevant to the present, or otherwise hidden away, dispersed, subalternized, and, ultimately, disappeared. Specifically, this study focuses on the case of the Museum of The Spanish People (1934-1993) and the women professionals who played a direct role in its curation, with special attention placed on the figure of Carmen Baroja y Nessi (1883-1950). Her autobiographical memoirs invite us to explore the question of how a modern and feminist experience can be linked to an interclassist sensitivity for traditional popular culture that is neither essentialist nor identity-based, but, rather, material and vitalistic: an approach which could inspire us to think of alternatives to the androcentric order of the world, and which remains useful for the work of imagining, not only a feminist museum, but a new society as well.

scholarly journals Perspectiva etnográfica como proposta de metodologia de ensino de sociologia

2017 ◽  
Vol 30 (1) ◽  
pp. 107
Author(s):  
Patricia Bandeira de Melo ◽  
Tatiane Oliveira de Carvalho Moura
Keyword(s):  
Popular Culture ◽  
Social Context ◽  
Social Environment ◽  
Learning Process ◽  
Mediation Model ◽  
Teaching Sociology ◽  
The Social ◽  
Cultura Popular ◽  
The World ◽  
Teaching Learning

Este artigo apresenta um modelo de mediação didática para o ensino de sociologia. Efetivada em uma escola pública na cidade de São José do Belmonte, Pernambuco, Brasil, a mediação fitou o aprendizado a partir de uma pesquisa de campo feita durante a festa da Cavalgada à Pedra do Reino. Primeiro, os estudantes apropriaram-se dos conceitos de cultura, cultura popular, festa, festa popular e etnografia, e foram a campo para observar, estranhar e refletir acerca do meio do qual fazem parte, registrando suas reflexões em cadernos de campo. Nessa proposta de trabalho de perspectiva etnográfica, os alunos usaram o mundo como laboratório para compreender a sociologia. A mediação didática considerou que os discentes são investigadores críticos, protagonistas do processo de ensino-aprendizagem, na qual a palavra é dada ao educando. Eles usaram o seu contexto de existência para compreender sociologicamente o que já conheciam, mas cujos sentidos eram silenciados na estrutura social.Palavras-chave: Mediação didática; Ensino de sociologia; Perspectiva etnográfica. ABSTRACTThis article presents a didactic mediation model to teaching sociology. This mediation was applied in a public school in São José do Belmonte city, Pernambuco, Brazil, whose aim was the learning through a fieldwork during the Cavalgada à Pedra do Reino Festival. Firstly, students learned concepts as culture, popular culture, festival, popular festival and ethnography, and then they went to the field to observe, defamiliarize and reflect about their social environment, reporting their reflections in ethnographic notebooks. On this ethnographic perspective proposal, students experienced the world as a laboratory, trying to understand sociology. In the didactic mediation, students were considered as critical researchers, protagonists of the teaching-learning process, in which each one has an own narrative. They were immersed in their own social context to understand sociologically what they already knew, but which meanings were restrained in the social structure.Keywords: Didactic mediation; Sociology teaching; Ethnographic perspective

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

Redefinisi Fungsi Desa dalam Manga Naruto dan Bande Dessinée Astérix: Sebuah Kajian Komparasi Budaya Populer

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 293
Author(s):  
Tania Intan
Keyword(s):  
Popular Culture ◽  
Rural Environment ◽  
Cultural Comparison ◽  
Structural Element ◽  
Legal Entity ◽  
Bande Dessinee ◽  
Spare Time ◽  
Popular Medium ◽  
The World ◽  
The Village

AbstrakSecara alamiah, manusia membutuhkan sarana untuk mengisi waktu luangnyasetelah bekerja keras. Satu media yang murah, mudah dijangkau, dan digemari oleh semuakalangan di seluruh dunia adalah cerita bergambar atau komik yang merupakan bagiandari budaya populer. Pada umumnya, karya paraliteratur-visual ini memang bersifat fiktifdan hanya merupakan peniruan dari kenyataan yang digambarkan secara berlebihan(grotesque). Namun demikian, di dalam komik, sering ditemukan nilai-nilai kehidupanyang bersifat universal dan abadi sehingga dianggap layak sebagai bahan kajian budaya.Naruto, salah satu manga Jepang, dan Astérix, bande dessinée dari Prancis, akan ditelitisebagai representasi dunia Timur dan Barat. Latar sebagai unsur struktural dalam karyakaryafiksi ini ternyata juga menunjukkan kesamaan mendasar, yaitu keberadaan desasebagai tempat hidup para tokohnya. Dalam tulisan ini, akan dibahas pemaknaan lainterhadap lingkungan rural tersebut, yang memiliki andil dalam pembentukan karakterpara tokoh dari kedua komik. Metode kajian komparasi budaya akan digunakan denganpenerapan teori-teori yang relevan. Penelitian singkat ini bertujuan untuk melengkapistudi mengenai komik yang belum banyak dilakukan di Indonesia.Kata kunci: Desa, komik, Naruto, Astérix, Komparasi BudayaAbstractNaturally, humans need a way to fill their spare time after working hard. Acheap, accessible and popular medium by all circles around the world is a picture or comicstory, which is part of popular culture. McCloud (1993:7) defines comics as drawings andembossed symbols in a particular order, aimed at providing information or achievingaesthetic responses from the reader. In general, this visual-paraliterature work isindeed fictitious and merely an imitation of grotesque reality. However, in the comics, itis often found that values of life that are universal and eternal so comics are consideredappropriate as a material of cultural studies. Naruto, one of the Japanese manga, andAstérix, the bande dessinée of France, are examined as a representation of the East andWest. The background as a structural element in these works of fiction also shows the basicsimilarity of the existence of the village as the place of life of the characters. According toKartohadikoesoemo (1984:16), the village is a legal entity, in which a ruling society livesits own government. In this paper, other meanings of the rural environment, which hascontributed in the character formation of the characters from both comics are discussed.The method of cultural comparative is used with the application of relevant theories. Thisbrief study aims to complete the study of comics which is still very limited in Indonesia.Keywords: Village, Comic, Naruto, Astérix, Cultural Comparison

Unstoppable Decay and Relentless Hope: Study of Alterity in Popular Culture

2021 ◽  
pp. 56-76
Author(s):  
Adrien Ordonneau
Keyword(s):  
Mental Health ◽  
Mental Illness ◽  
Popular Culture ◽  
Theoretical Framework ◽  
The Uncanny ◽  
The World ◽  
The Way

Consequences of capitalism’s crises and their manifestations in arts have deeply modified the way we can approach mental health. As Mark Fisher pointed out in 2009 with his book Capitalist Realism, neoliberalism is using mental illness as a way to keep existing. The capacity to think a way out of alienation is deeply linked with arts and popular culture. The article proposes to study the uncanny dialogue between arts and politics in relationships to people, and mental health. The theoretical framework will show how arts are trying to build a way out of alienation, since 2009. The article will illustrate this research with the study of many artistic practices, including our own. The findings will show how the ambiguous and uncanny relationships with the world is used by artists as a way out of alienation, despite the difficulties occurring with mental health in time of crisis.

The Globalization of Superheroes: Diffusion, Genre, and Cultural Adaptations

2021 ◽  
Author(s):  
Kyle Hammonds
Keyword(s):  
Popular Culture ◽  
Retributive Justice ◽  
Popular Media ◽  
Cultural Imperialism ◽  
High Demand ◽  
Cultural Adaptations ◽  
Civic Values ◽  
The World ◽  
Entertainment Value ◽  
Industrial Societies

Superheroes are a global phenomenon. The superhero genre has been proliferated through modern industrial societies by way of movies, television, comics, and other forms of popular media. Although virtually every nation in the world has heroic myths, the modern superhero, as marked by the inception of recent American comics heroes in 1929, is a uniquely Western invention. Superheroes are “Western” insofar as they embody and exhibit Western civic values, such as democracy, humanism, and retributive justice. These characters have been communicatively incorporated into globalization processes by means of diffusion and thereby enact aspects of cultural imperialism. Even so, superhero figures have been in high demand across many populations for their entertainment value. As superheroes have diffused in non-Western cultures, they have not only been absorbed by new cultures but also refigured and adapted. These non-Western adaptations have had a recursive influence, such as the global popularity of Japanese manga. The recursive relationship between Western superheroes and their non-Western adaptations implies superheroes are an important aspect of cultural fusion in global popular culture.

scholarly journals Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta

Koneksi ◽  
2020 ◽  
Vol 3 (2) ◽  
pp. 351
Author(s):  
Dwi Sabrina ◽  
Lusia Savitri Retno Utami
Keyword(s):  
Popular Culture ◽  
Data Collection ◽  
Identity Formation ◽  
Rapid Development ◽  
Family Experience ◽  
Self Identity ◽  
The World ◽  
Front Stage ◽  
Back Stage ◽  
Collection Methods

No doubt the development of popular culture is very fast in the world, especially the K-Pop industry. Due to rapid development of K-Pop and more fans, innovations have begun to emerge in showing the love of fans towards K-Pop. One of them is K-Pop cover dance activities. This study discusses "The Formation of the Identity of K-Pop Cover Dance Performers in Jakarta" and uses observation and interview data collection methods to find out more about how the formation of K-Pop cover actors' self-identity formation. The theory used is their dramatism on the front stage and also the backstage. In this study the authors can see that each individual communicates themselves in different ways and not all cover dance performers perform their front stage roles up to their backstage life. The formation of the identity of the cover dance actors can change to follow the environment where they are and with whom they communicate. However, not a few also feel that his life as a cover dance on stage imitates and becomes someone else's figure carried to their   daily from various aspects such as family, experience and also the community.Tidak dipungkiri perkembangan budaya populer sangat pesat di dunia terutama K-Pop. Akibat perkembangan K-Pop yang pesat dan penggemarnya yang semakin banyak, mulai bermunculan inovasi dalam menunjukkan kecintaan dari penggemar terhadap K-Pop. Salah satunya adalah kegiatan cover dance K-Pop. Penelitian ini membahas tentang “Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta” dengan menggunakan teori dramatisme mereka pada front stage dan juga back stage. Dalam penelitian ini penulis dapat melihat bahwa setiap individu mengkomunikasikan diri mereka dengan cara yang berbeda-beda dan tidak semua pelaku cover dance melakukan peran front stage mereka hingga ke kehidupan backstage mereka. Peneliti menggunakan metode pengumpulan data observasi dan wawancara untuk mengetahui lebih dalam mengenai bagaimana pembentukan identitas diri para pelaku cover dance K-Pop. Pembentukan identitas diri para pelaku cover dance dapat berubah mengikuti lingkungan dimana mereka berada dan dengan siapa mereka berkomunikasi. Namun, tidak sedikit juga yang merasa bahwa kehidupannya sebagai seorang cover dance di atas panggung yang meniru dan menjadi sosok orang lain terbawa hingga ke kehidupan sehari-hari mereka dari berbagai macam aspek seperti keluarga, pengalaman dan juga komunitas. 

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.

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.

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