Indústria cultural e forró eletrônico no Rio Grande do Norte
Ano de defesa: | 2012 |
---|---|
Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | |
Tipo de documento: | Tese |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Universidade Federal do Rio Grande do Norte
|
Programa de Pós-Graduação: |
Programa de Pós-Graduação em Ciências Sociais
|
Departamento: |
Desenvolvimento Regional; Cultura e Representações
|
País: |
BR
|
Palavras-chave em Português: | |
Palavras-chave em Inglês: | |
Área do conhecimento CNPq: | |
Link de acesso: | https://repositorio.ufrn.br/jspui/handle/123456789/13798 |
Resumo: | The present study aimed to understand how and to what extent the electronic forró, currently hegemonic in the music market in the state of Rio Grande do Norte, establishes and maintains relations of domination in the social contexts in which it is produced, transmitted and received. Based, in significant form-content, on the writings of the first generation of theorists of the so-called Frankfurt School (Critical Theory), particularly with Theodor W. Adorno, and systematically using the contributions of the Cultural Studies (from the Centre for Contemporary Cultural Studies of Birmingham) and of the sociology of Pierre Bourdieu, this study aimed to perform, in the fertile intersection of these references, a critical possibility of interpretation of the electronic forró predominantly spread in the state of Rio Grande do Norte. To this end, aiming at a better apprehension of the so-called capital circuits/culture circuits , this study resulted from a qualitative investment of research, based on structured interviews with musicians, entrepreneurs of the sector and music consumers, as well as on the analysis of the themes contained in the official discography of the electronic forró band called Garota Safada (Shameless Girl). As a general empirical conclusion, it was possible to infer that far from the significant presence of domination or mere prevalence of oppositions, there is a relational pluralism of forms of domination and ways of resistances present in the production and consumption of electronic forró, regardless of gender, age, income, education or place of residence. However, the artifices of the cultural industry has been shown to be efficient: from large-scale businessmen to small producers enabled by the so-called open markets . The currentness of the concept of cultural industry is based on the idea that its products are offered systematically (the systematic insistence of everything to everyone) and on the notion that its production primarily meets the administrative criteria of control over the effects on the receiver (capacity of prescription of desires). Thus, the Adornian reflection on the pseudo-individualization leads to the inference that even in some of the most apparent ways of negotiation and/or refusal regarding the consumption of forró, certain behaviors of the cultural industry still prevail both in the very (re)interpretation of the forró and in the choice of other music genres also standardized, rationalized and massified. Therefore, despite the absence of cause-effect relation and the recognition of the popular capacity of re-elaboration and contestation of the media consumption, some world views prevailing in relation to the electronic forró establish or, at least, support some hegemonic ideologies, especially those concerning the life style, consumption and genre relations (fun by all means). Therefore, due the massification of certain songs, some ways of dissemination of values, beliefs and feelings are potentially experienced from the electronic forró. So, it is presumable that in the current advance of the process of semiformation (Halbbildung), the habitus of a part of the youth from the state of Rio Grande do Norte reinforces and is reinforced by the centrality of the trinomial fun, love and sex present in the songs, emphasized in some constructive practices of sense and in certain flows of social significance |
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Costa, Jean Henriquehttp://lattes.cnpq.br/1637929291576764http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4787705J5Oliveira, João Emanuel Evangelista dehttp://buscatextual.cnpq.br/buscatextual/index.jspChianca, Luciana de Oliveirahttp://lattes.cnpq.br/4264064005369443Oliveira, Christian Dennys Monteiro dehttp://lattes.cnpq.br/6672867433887720Trotta, Felipe da Costahttp://lattes.cnpq.br/52263570229614602014-12-17T14:20:25Z2012-08-282014-12-17T14:20:25Z2012-03-27COSTA, Jean Henrique. Indústria cultural e forró eletrônico no Rio Grande do Norte. 2012. 310 f. Tese (Doutorado em Desenvolvimento Regional; Cultura e Representações) - Universidade Federal do Rio Grande do Norte, Natal, 2012.https://repositorio.ufrn.br/jspui/handle/123456789/13798The present study aimed to understand how and to what extent the electronic forró, currently hegemonic in the music market in the state of Rio Grande do Norte, establishes and maintains relations of domination in the social contexts in which it is produced, transmitted and received. Based, in significant form-content, on the writings of the first generation of theorists of the so-called Frankfurt School (Critical Theory), particularly with Theodor W. Adorno, and systematically using the contributions of the Cultural Studies (from the Centre for Contemporary Cultural Studies of Birmingham) and of the sociology of Pierre Bourdieu, this study aimed to perform, in the fertile intersection of these references, a critical possibility of interpretation of the electronic forró predominantly spread in the state of Rio Grande do Norte. To this end, aiming at a better apprehension of the so-called capital circuits/culture circuits , this study resulted from a qualitative investment of research, based on structured interviews with musicians, entrepreneurs of the sector and music consumers, as well as on the analysis of the themes contained in the official discography of the electronic forró band called Garota Safada (Shameless Girl). As a general empirical conclusion, it was possible to infer that far from the significant presence of domination or mere prevalence of oppositions, there is a relational pluralism of forms of domination and ways of resistances present in the production and consumption of electronic forró, regardless of gender, age, income, education or place of residence. However, the artifices of the cultural industry has been shown to be efficient: from large-scale businessmen to small producers enabled by the so-called open markets . The currentness of the concept of cultural industry is based on the idea that its products are offered systematically (the systematic insistence of everything to everyone) and on the notion that its production primarily meets the administrative criteria of control over the effects on the receiver (capacity of prescription of desires). Thus, the Adornian reflection on the pseudo-individualization leads to the inference that even in some of the most apparent ways of negotiation and/or refusal regarding the consumption of forró, certain behaviors of the cultural industry still prevail both in the very (re)interpretation of the forró and in the choice of other music genres also standardized, rationalized and massified. Therefore, despite the absence of cause-effect relation and the recognition of the popular capacity of re-elaboration and contestation of the media consumption, some world views prevailing in relation to the electronic forró establish or, at least, support some hegemonic ideologies, especially those concerning the life style, consumption and genre relations (fun by all means). Therefore, due the massification of certain songs, some ways of dissemination of values, beliefs and feelings are potentially experienced from the electronic forró. So, it is presumable that in the current advance of the process of semiformation (Halbbildung), the habitus of a part of the youth from the state of Rio Grande do Norte reinforces and is reinforced by the centrality of the trinomial fun, love and sex present in the songs, emphasized in some constructive practices of sense and in certain flows of social significanceO presente estudo objetivou compreender em que medida e como o forró eletrônico atualmente hegemônico no mercado musical norte-rio-grandense serve para estabelecer e sustentar relações de dominação nos contextos sociais em que é produzido, transmitido e recebido. Ancorado, em significativa forma-conteúdo, nos escritos da primeira geração de pensadores que se convencionou chamar Escola de Frankfurt (Teoria Crítica), particularmente em Theodor W. Adorno, e recorrendo sistematicamente às contribuições dos Estudos Culturais (originários do Centre for Contemporary Cultural Studies de Birmingham) e da sociologia de Pierre Bourdieu, buscou-se realizar no fecundo cruzamento desses referenciais uma possibilidade crítica de leitura do forró eletrônico dominantemente difundido no RN. Para tanto, objetivando uma melhor apreensão dos chamados circuitos de capital/circuitos de cultura , o estudo em questão foi fruto de um investimento qualitativo de pesquisa, fundado na realização de entrevistas estruturadas com músicos, empresários do setor e consumidores musicais, além de análise das temáticas contidas na discografia oficial da banda de forró eletrônico Garota Safada . Como inferência empírica geral do estudo, foi possível compreender que, longe de substancialmente existir dominação ou simplesmente imperar resistências, há uma pluralidade relacional de formas de dominação e maneiras de resistências habitáveis na produção e no consumo do forró eletrônico, independentemente de sexo, idade, renda, educação ou local de residência. Todavia, as artimanhas da indústria cultural têm sido potentes: dos grandes empresários aos pequenos produtores possibilitados pelos chamados mercados abertos . Prontamente, a atualidade do conceito de indústria cultural reside na ideia de que seus produtos são oferecidos em sistema (o assédio sistemático de tudo para todos) e a noção de que a sua produção obedece prioritariamente a critérios administrativos de controle sobre os efeitos no receptor (capacidade de prescrição de desejos). Logo, a reflexão adorniana acerca da pseudo-individuação conduz a pensar que mesmo em algumas formas mais aparentes de negociação e/ou recusa no consumo do forró, ainda assim vigoram determinados comandos da indústria cultural, ora pontualmente na própria (re)leitura do forró, ora na escolha de outros gêneros musicais também estandardizados, racionalizados e massificados. Assim, mesmo não havendo nenhuma relação de causa-efeito e mesmo reconhecendo-se vigorosamente a capacidade popular de reelaboração e contestação do consumo midiático, algumas visões de mundo vigentes no forró eletrônico terminam por, se não estabelecerem, pelo menos sustentarem algumas ideologias já hegemônicas, sobretudo aquelas ligadas às questões de gênero, consumo e estilo de vida (diversão a todo custo). Por conseguinte, devido à massificação de determinadas músicas, são potencialmente vivificados alguns modos de disseminação de valores, crenças e sentimentos a partir do forró eletrônico. É presumível, então, que no atual avanço do processo de semiformação (Halbbildung), o habitus de uma parte da juventude potiguar seja reforçador e reforçado pela centralidade do trinômio diversão, amor e sexo presente nas canções, sobressaindo-se em algumas práticas construtivas de sentido e em determinados fluxos de significação socialapplication/pdfporUniversidade Federal do Rio Grande do NortePrograma de Pós-Graduação em Ciências SociaisUFRNBRDesenvolvimento Regional; Cultura e RepresentaçõesTeoria críticaEstudos culturaisIndústria culturalMúsica popularForró eletrônicoCritical theoryCultural studiesCultural industryPopular musicElectronic forróCNPQ::CIENCIAS HUMANAS::SOCIOLOGIAIndústria cultural e forró eletrônico no Rio Grande do Norteinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFRNinstname:Universidade Federal do Rio Grande do Norte (UFRN)instacron:UFRNORIGINALIndústriaCulturalForró_Costa_2012.pdfapplication/pdf2940316https://repositorio.ufrn.br/bitstream/123456789/13798/1/Ind%c3%bastriaCulturalForr%c3%b3_Costa_2012.pdf06a834295c72d76ffa5dd73544c6a829MD51TEXTJeanHC_TESE.pdf.txtJeanHC_TESE.pdf.txtExtracted texttext/plain769990https://repositorio.ufrn.br/bitstream/123456789/13798/6/JeanHC_TESE.pdf.txt3c6ee5103d167b9dddd47ca3bfddded5MD56IndústriaCulturalForró_Costa_2012.pdf.txtIndústriaCulturalForró_Costa_2012.pdf.txtExtracted texttext/plain769645https://repositorio.ufrn.br/bitstream/123456789/13798/8/Ind%c3%bastriaCulturalForr%c3%b3_Costa_2012.pdf.txtbbf442db94900a2bad6d6ee02d9b6109MD58THUMBNAILJeanHC_TESE.pdf.jpgJeanHC_TESE.pdf.jpgIM Thumbnailimage/jpeg9963https://repositorio.ufrn.br/bitstream/123456789/13798/7/JeanHC_TESE.pdf.jpg2d57a5f0cd1a2a5f67871d1e2a2f1317MD57IndústriaCulturalForró_Costa_2012.pdf.jpgIndústriaCulturalForró_Costa_2012.pdf.jpgGenerated Thumbnailimage/jpeg2070https://repositorio.ufrn.br/bitstream/123456789/13798/9/Ind%c3%bastriaCulturalForr%c3%b3_Costa_2012.pdf.jpg76aa599ed714e90406bc3d64bc84fc95MD59123456789/137982019-05-26 02:28:07.204oai:https://repositorio.ufrn.br:123456789/13798Repositório de PublicaçõesPUBhttp://repositorio.ufrn.br/oai/opendoar:2019-05-26T05:28:07Repositório Institucional da UFRN - Universidade Federal do Rio Grande do Norte (UFRN)false |
dc.title.por.fl_str_mv |
Indústria cultural e forró eletrônico no Rio Grande do Norte |
title |
Indústria cultural e forró eletrônico no Rio Grande do Norte |
spellingShingle |
Indústria cultural e forró eletrônico no Rio Grande do Norte Costa, Jean Henrique Teoria crítica Estudos culturais Indústria cultural Música popular Forró eletrônico Critical theory Cultural studies Cultural industry Popular music Electronic forró CNPQ::CIENCIAS HUMANAS::SOCIOLOGIA |
title_short |
Indústria cultural e forró eletrônico no Rio Grande do Norte |
title_full |
Indústria cultural e forró eletrônico no Rio Grande do Norte |
title_fullStr |
Indústria cultural e forró eletrônico no Rio Grande do Norte |
title_full_unstemmed |
Indústria cultural e forró eletrônico no Rio Grande do Norte |
title_sort |
Indústria cultural e forró eletrônico no Rio Grande do Norte |
author |
Costa, Jean Henrique |
author_facet |
Costa, Jean Henrique |
author_role |
author |
dc.contributor.authorID.por.fl_str_mv |
|
dc.contributor.authorLattes.por.fl_str_mv |
http://lattes.cnpq.br/1637929291576764 |
dc.contributor.advisorID.por.fl_str_mv |
|
dc.contributor.advisorLattes.por.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4787705J5 |
dc.contributor.referees1.pt_BR.fl_str_mv |
Oliveira, João Emanuel Evangelista de |
dc.contributor.referees1ID.por.fl_str_mv |
|
dc.contributor.referees1Lattes.por.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/index.jsp |
dc.contributor.referees2.pt_BR.fl_str_mv |
Chianca, Luciana de Oliveira |
dc.contributor.referees2ID.por.fl_str_mv |
|
dc.contributor.referees2Lattes.por.fl_str_mv |
http://lattes.cnpq.br/4264064005369443 |
dc.contributor.referees3.pt_BR.fl_str_mv |
Oliveira, Christian Dennys Monteiro de |
dc.contributor.referees3ID.por.fl_str_mv |
|
dc.contributor.referees3Lattes.por.fl_str_mv |
http://lattes.cnpq.br/6672867433887720 |
dc.contributor.referees4.pt_BR.fl_str_mv |
Trotta, Felipe da Costa |
dc.contributor.referees4ID.por.fl_str_mv |
|
dc.contributor.referees4Lattes.por.fl_str_mv |
http://lattes.cnpq.br/5226357022961460 |
dc.contributor.author.fl_str_mv |
Costa, Jean Henrique |
dc.subject.por.fl_str_mv |
Teoria crítica Estudos culturais Indústria cultural Música popular Forró eletrônico |
topic |
Teoria crítica Estudos culturais Indústria cultural Música popular Forró eletrônico Critical theory Cultural studies Cultural industry Popular music Electronic forró CNPQ::CIENCIAS HUMANAS::SOCIOLOGIA |
dc.subject.eng.fl_str_mv |
Critical theory Cultural studies Cultural industry Popular music Electronic forró |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS HUMANAS::SOCIOLOGIA |
description |
The present study aimed to understand how and to what extent the electronic forró, currently hegemonic in the music market in the state of Rio Grande do Norte, establishes and maintains relations of domination in the social contexts in which it is produced, transmitted and received. Based, in significant form-content, on the writings of the first generation of theorists of the so-called Frankfurt School (Critical Theory), particularly with Theodor W. Adorno, and systematically using the contributions of the Cultural Studies (from the Centre for Contemporary Cultural Studies of Birmingham) and of the sociology of Pierre Bourdieu, this study aimed to perform, in the fertile intersection of these references, a critical possibility of interpretation of the electronic forró predominantly spread in the state of Rio Grande do Norte. To this end, aiming at a better apprehension of the so-called capital circuits/culture circuits , this study resulted from a qualitative investment of research, based on structured interviews with musicians, entrepreneurs of the sector and music consumers, as well as on the analysis of the themes contained in the official discography of the electronic forró band called Garota Safada (Shameless Girl). As a general empirical conclusion, it was possible to infer that far from the significant presence of domination or mere prevalence of oppositions, there is a relational pluralism of forms of domination and ways of resistances present in the production and consumption of electronic forró, regardless of gender, age, income, education or place of residence. However, the artifices of the cultural industry has been shown to be efficient: from large-scale businessmen to small producers enabled by the so-called open markets . The currentness of the concept of cultural industry is based on the idea that its products are offered systematically (the systematic insistence of everything to everyone) and on the notion that its production primarily meets the administrative criteria of control over the effects on the receiver (capacity of prescription of desires). Thus, the Adornian reflection on the pseudo-individualization leads to the inference that even in some of the most apparent ways of negotiation and/or refusal regarding the consumption of forró, certain behaviors of the cultural industry still prevail both in the very (re)interpretation of the forró and in the choice of other music genres also standardized, rationalized and massified. Therefore, despite the absence of cause-effect relation and the recognition of the popular capacity of re-elaboration and contestation of the media consumption, some world views prevailing in relation to the electronic forró establish or, at least, support some hegemonic ideologies, especially those concerning the life style, consumption and genre relations (fun by all means). Therefore, due the massification of certain songs, some ways of dissemination of values, beliefs and feelings are potentially experienced from the electronic forró. So, it is presumable that in the current advance of the process of semiformation (Halbbildung), the habitus of a part of the youth from the state of Rio Grande do Norte reinforces and is reinforced by the centrality of the trinomial fun, love and sex present in the songs, emphasized in some constructive practices of sense and in certain flows of social significance |
publishDate |
2012 |
dc.date.available.fl_str_mv |
2012-08-28 2014-12-17T14:20:25Z |
dc.date.issued.fl_str_mv |
2012-03-27 |
dc.date.accessioned.fl_str_mv |
2014-12-17T14:20:25Z |
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info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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doctoralThesis |
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COSTA, Jean Henrique. Indústria cultural e forró eletrônico no Rio Grande do Norte. 2012. 310 f. Tese (Doutorado em Desenvolvimento Regional; Cultura e Representações) - Universidade Federal do Rio Grande do Norte, Natal, 2012. |
dc.identifier.uri.fl_str_mv |
https://repositorio.ufrn.br/jspui/handle/123456789/13798 |
identifier_str_mv |
COSTA, Jean Henrique. Indústria cultural e forró eletrônico no Rio Grande do Norte. 2012. 310 f. Tese (Doutorado em Desenvolvimento Regional; Cultura e Representações) - Universidade Federal do Rio Grande do Norte, Natal, 2012. |
url |
https://repositorio.ufrn.br/jspui/handle/123456789/13798 |
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por |
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por |
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Universidade Federal do Rio Grande do Norte |
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Programa de Pós-Graduação em Ciências Sociais |
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UFRN |
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BR |
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Desenvolvimento Regional; Cultura e Representações |
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Universidade Federal do Rio Grande do Norte |
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