Programa de Pós-Graduação em História - PPHIST/IFCH
URI Permanente desta comunidadehttps://repositorio.ufpa.br/handle/2011/4187
O Programa de Pós-Graduação em História (PPHIST) do Instituto de Filosofia e Ciências Humanas (IFCH) da Universidade Federal do Pará (UFPA) foi criado em 2004, em nível de Mestrado. Em 2010, teve o seu Doutorado aprovado, cuja primeira turma iniciou em meados de 2011. O objetivo do PPHIST/UFPA é o de refletir historiograficamente sobre a diversidade social, étnica e cultural da Amazônia na sua relação com a biodiversidade local. Nesse sentido, trata-se de formar e capacitar pesquisadores e professores dentro desse campo de múltiplas realidades. Por outro lado, objetiva-se também o fomento e a criação de estudos históricos que relacionem a realidade e a historicidade da Amazônia com análises de outras dinâmicas históricas brasileiras e da Pan-Amazônia. Como primeiro Doutorado em História da região amazônica, o PPHIST/UFPA quer se consolidar como uma Pós-Graduação de referência para os demais estados da região e, inclusive, para os países que compõem a Pan-Amazônia.
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Item Acesso aberto (Open Access) Adeus Maio! Salve Junho!: narrativas e representações dos festejos juninos em Belém do Pará nos anos de 1950(Universidade Federal do Pará, 2016-01-08) GOMES, Elielton Benedito Castro; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361This study aims to analyze the narratives and representations of June festivities in Belém of Pará in the 1950s. These festivities won highlights in the pages of books, newspapers and magazines circulating in Belém from the period in question, where it was possible to find ads, chronicles and novels that deal with this festive time. The June festivals of great importance to a significant portion of belenense society, counted on the participation of several musical ensembles, “juninos” groups and audio equipment animating these events performed in various spaces of the suburbs and the city center. In addition, several were the views of journalists and intellectuals on this festive celebration, these being analyzed from the distribution of roles of values and behavior standards proposed for them in his writings. In this sense, the concept of representation, proposed by the French historian Roger Chartier, permeate the dissertation in question, in which the author points out that the speeches are interspersed strategies and practices that tend to impose authority and even induce the other the choices and they are built dialogically a game that includes interests, conflicts and negotiations. The research presented included aid supplies taken from the newspaper O Liberal, Folha do Norte, A Província do Pará, O Estado do Pará, A Vanguarda and the magazine Amazônia, published in the 1950s, as well as memoirs novels that talk about the subject worked here in the second half of the twentieth century.Item Acesso aberto (Open Access) Cantos da floresta: temáticas indígenas na produção de canção popular de artistas da amazônia brasileira (1988-1992)(Universidade Federal do Pará, 2022-09-30) COSTA, Jessica Maria de Queiroz; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264This research investigates themes related to indigenous peoples in the production of popular songs by Nilson Chaves (PA), Raízes Caboclas (AM) and Trio Roraimeira (RR), artistas from the Amazon, between 1988 and 1992. Period in which discussions about a new Constitution were extremely important, with indigenous peoples as one of the main characters in that context. At the same time, the environmental debate took place in Brazil, due to the United Nations Conference on Environment and Development (UNCED) or popularly called “ECO-92”, held in the city of Rio de Janeiro in June 1992. The objective of this study arises due to the constant uses of these Amazonian artists to indigenous references to affirm an Amazonian identity through their musical works. It was a moment of intense environmental and sociopolitical discussion, since there was an alert to the defense and affirmation of several themes in the construction process of the new Federal Constitution, such as the protection of the environment, indigenous right and duties, labor rights and others. In this sense, there is a raise in the search for indigenuos themes due to this context. To this end, the research focused mainly on searching newspapers from the states of these mentioned artists, such as Diário do Pará (PA), Jornal do Commercio (AM) and Folha de Boa Vista (RR), between 1988 and 1992. In addition, interviews were conducted with Nilson Chaves (PA), Celdo Braga (AM) and Eliakin Rufino from Trio Roraimeira (RR) to compare information and understand their trajectories as artists and their envolvement with indigenous demands and agendas. The study of the songs and trajectories of these artists allows the understanding of approaches that reinforce and/or reconstruct conceptions about indigenous peoples in the Amazonian musical scenario, depending on sociopolitical and cultural intererests.Item Acesso aberto (Open Access) O dedilhar folclórico de uma alma gentil: música, folclore e negritude na obra de Gentil Puget (1938-1948)(Universidade Federal do Pará, 2024-08-28) SOARES, Ariel Silva; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264This production sought to show, through the trajectory of an artist and intellectual from Pará, the national scene of studies of popular culture between the years 1938-1948. Through Gentil Puget and his approach to the themes of folklore, folk music and blackness, a period of national history concerned with the formation of national identity was analyzed. To this end, periodicals were selected that mention his activity in radio programs, his chronicles in newspapers and interviews. We seek to understand how this musician's production helped to build a discourse of national unity in the Vargas regime, on the one hand, while, on the other hand, he assumed an activism dedicated to folklore and the black cause that clashed with the hegemonic project of cultural policies at the time. We aim to analyze how Puget's intellectual construction was developed in his production and how his personal life interfered in his work. We also work with the connections that the folklorist established for his political-ideological positioning in defense of black demonstrations, both in Belém, with Bruno de Menezes and Dalcídio Jurandir, and in the Federal Capital, Rio de Janeiro, with Abdias Nascimento and Abigail Bastos.Item Acesso aberto (Open Access) O diabo na carne de Belém: o circuito exibidor de filmes pornôs durante a decadência dos cinemas de rua na capital paraense (1985-1997)(Universidade Federal do Pará, 2023-04-05) BARBOSA, Raíssa Santos; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264The movie theaters from streets were one of the main places of leisure among belenenses during the 20th century. Around this practice were fundamental elements for its realization, such as the production of films, distribution, exhibition, advertising, the commentary of the specialized critic in the newspapers and the search of the public. All these elements formed a movie show circuit that the city of Belém experienced for most of that century. Although it was always subject to change, the circuit altered significantly in the 1980s, when street’s movie theaters went through a phase of decay and some closed. The owners of Cine Ópera, Cine Nazaré, Cine Iracema, Cinema Dois and Cine Cassino, chose to show pornographic movies, material that had already been produced at an industrial pace in the US since the 1970s, but took a while to enter Brazil due to the dictatorial censorship. Therefore, the trajectory of the public interested on these films determined the dimensions of a new movie show circuit specialized in porn exhibition between 1985 and 1997. It is important to stress that the new circuit existed in parallel to the conventional and decaying display circuit. Our guiding question sought to understand what would have been the conditions that allowed and made possible the existence of this porn circuit. The results of the research in periodic and oral sources, pointed to the weakening of the institutions linked to censorship, the end of the dictatorship, the economic crisis of the 1980s, the massive entry of soft and hard core porn movies in the country, the expectation of profit of exhibitors, the public's curiosities (carnal knowledge) and sexual opportunities, in addition to a moral tolerance within society, as fundamental fact for its consolidation.Item Acesso aberto (Open Access) Do ponto de vista da caserna: memórias do cotidiano e experiências de militares da aeronáutica em Belém durante o regime militar (1964-1985)(Universidade Federal do Pará, 2011-12-19) SANTOS, Carlos Eduardo dos Santos e; PETIT PEÑARROCHA, Pedro; http://lattes.cnpq.br/1981202733448583; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361This work discusses the perceptions of the population of Belém on the period of the military regime of 1964, focusing on the military segment: Graduates of Military Aeronautics. We seek to understand the experience of everyday life in the state capital in the period 1964-1985. It manifests itself beyond politics and economics, depicting aspects of the company relating to work, leisure and private life, in which the different situations and instances are experienced and acquire different meanings and senses in the day-to-day. We aim to understand the meanings attributed by the military to their daily activities, whether at the institutional level or in the middle calendar. We use this insight to the documentation (photographic records, newsletters, posters) of the First Regional Air Command headquartered in Belém (I COMAR), and systematic interviews of military personnel and their families. These two spheres - Civil-Military - are focused on crossing their experiences in the civil, may have a direct or indirect relation with the political, economic and social aspects of the military regime.Item Acesso aberto (Open Access) Entre atos: o intermezzo do ensino musical durante a extinção do Instituto Carlos Gomes em Belém (1908-1929)(Universidade Federal do Pará, 2025-01-31) SOUZA, Milena Moraes de Araújo e; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264The purpose of this dissertation is to investigate the historical trajectory of the Carlos Gomes Institute, with an emphasis on its continuity and reinterpretation during the period of its interruption, between 1908 and 1929, called by Jonas Arraes as an "intermezzo" period, and its reestablishment in 1929. To this end, it was necessary to survey documentary sources, such as newspapers, magazines, concert programs, photographs, and others. As a theoretical framework, we sought the studies of Pierre Bourdieu and Raymond Williams to understand the relationships involved in the reopening process. The study begins with an analysis of the historical context that led to the closure of the ICG, a symbol of high-quality music education that was interrupted due to economic and political factors, such as the rubber crisis and changes in government administrations. We then investigate how musicians, teachers, and students found alternatives to continue music education and promote culture through the creation of new spaces and initiatives. Finally, this research sought to examine how Antonia Rocha de Castro's music school, together with the alignment between musicians and political figures, enabled the "rebirth" of the Institute.Item Acesso aberto (Open Access) "Football suburbano e festivais esportivos": lazer e sociabilidade nos clubes de subúrbio em Belém do Pará (1920-1952)(Universidade Federal do Pará, 2016-04-29) GAUDÊNCIO, Itamar Rogério Pereira; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361This study deals with the analysis of the practice and popularization of football from the suburb of clubs in the city of Belém do Pará, during the years 1920 to 1952. Thus, we map the metropolis from these football clubs in their various neighborhoods in order to analyze the dynamics of sports who built a process of popularization of football. A fact that has its foundations by the amount of football clubs and the experience of individuals who actively participated in the construction of leisure and sports activities in this urban space. The increase in the number of festivals along with the work of the sports press, circulation of various social groups, has provided over the years to build a football popularization process in the city strengthened the sport around the Clube do Remo and Paysandu . However, to raise journalistic sources, I managed to realize that despite the speeches are inherent in the practice of those who write in the newspapers, there was a point in common, which was the practice of football in various places of the city. There were indications that subjects of popular neighborhoods like Jurunas, Sacramenta, Quarry and Telegraph participated even indirectly matches held in the Largo de Sao Braz or Praca Batista Campos. The idea of the thesis involves the study of football that became popular from a set of factors that was also combined with experience of subjects in the clubs of the districts presented by the press during the historical context of the time, as popular or suburban, not only the double Re x Pa.Item Acesso aberto (Open Access) Os Jazzes de Igarapé-Mirí : dimensões culturais do entretenimento musical moderno no Baixo Tocantins (1940-1970)(Universidade Federal do Pará, 2019-02-25) SINIMBÚ, Renato Pinheiro; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361This dissertation sought to study the “Jazzes”, musical formations that existed in the municipality of Igarapé-Mirí between the 1940s and 1970s. These musical groups created for entertainment and dance were part of a broad cultural dialogue started in the United States and Central America from the 1920s on, directed by the music business. This was spread to other parts of the world. In Igarapé-Mirí, in particular, those groups were "embraced" by the elites, who used them for entertainment and to raise the economic level of their events and to embrace some festive spaces to these groups. On the other hand, the musicians, mostly black and poor, saw those formations as a way to become professional and acquire social prestige and thus try to break with economic problems and racial prejudices. The work tries to demonstrate how the Jazzes - corresponding to an innovative cultural dimension - were developed from traditional practices of musical production and enjoyment, disseminated from religious events of popular Catholicism and the festive dynamics diffused by the communities of the county. This study was carried out in large part through the production of interviews with the various dwellers of the Baixo Tocantins, based on the life history of a certain number of musicians in order to discuss the processes of musical formation, performance, agency, discrimination, resistance and subsistence. In this way, music was the means by which we sought to perceive the relations between the approached subjects.Item Acesso aberto (Open Access) Jazzes e Banguês: um estudo sobre a música e a sociedade do Baixo Tocantins (1940 – 1970)(Universidade Federal do Pará, 2025-01-17) SINIMBÚ, Renato Pinheiro; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264The research aims to explore the interaction between music, culture and society in the region of Baixo Tocantins, Pará, between 1940 and 1970. To this end, it focuses on two local musical formations: Jazz, with a cosmopolitan influence and linked to modernity, and Banguês , marked by rural and community tradition. The study seeks to demonstrate how these musical practices coexisted and interacted in a context of social and economic transformations, including the advent of radio. Jazzes, originating from North American influences, represented modern entertainment and were associated with local elites. The Banguês incorporated artisanal instruments and rhythms, related to religious festivities and Afro-descendant tradition. However, despite having contrasting characteristics, both contributed to the construction of a unique musical identity, reflecting tensions between modernity and tradition. Using oral history, documentary and comparative analysis, this thesis also seeks to discuss the role of music in the formation of social hierarchies, in leisure spaces and in the inclusion of black musicians in local society. Finally, it emphasizes that music was a link between rural and urban areas capable of promoting cultural negotiations and identity transformations that characterized the social history of the region.Item Acesso aberto (Open Access) La caricatura en Honduras: como manifestación artística y su importancia en la crítica socio/política: 1960-1980(Universidade Federal do Pará, 2017-06-12) DÍAZ, Fredy José Macías; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361The starting point of this work is to study the development of the caricature as an artistic expression in the local newspapers of the time, making an analysis of the discourse implicit in these cartoons. In a discussion about the importance that this had in the country between the 1960s and 1980s, an attempt will be made to interpret the socio-political context in which the cartoons were created, directly studying what happened in this period of history of the nation, highlighting the role played by the caricature as an element of criticism.Item Acesso aberto (Open Access) "Minha divina Santa Bárbara, mãe, venha ver seu mundo": as memórias do Babassuê e do Batuque de Santa Bárbara nos terreiros da Pedreira em Belém do Pará(Universidade Federal do Pará, 2024-11-29) CARVALHO, Juliana dos Santos; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264This master's thesis aims to analyze the memory productions of the Babassuê and Batuques de Santa Bárbara performed by Afro-religious practitioners during the celebration of Santa Bárbara’s day in the terreiro of the Pedreira neighborhood in Belém do Pará. The research starts in 1938, using the records from the Folkloric Research Mission regarding the work of Satiro Ferreira de Barros, as well as the traces related to his brother Pedro Paulo Vilhena, known as Pedro Satyro. The career of these two Afro-religious figures from Pedreira marks the beginning of the Babassuê memory thread. The investigation concludes in the present time, with ethnographies conducted at the Terreiro de Mina Nagô Santa Bárbara in 2021, 2022, and 2023. The central question is to understand the importance of the deity Santa Bárbara and the spirit Maria Bárbara Soeira within the Afro-religious calendar, considered by Afro-religious practitioners as the patroness of Mina Nagô. Additionally, it reflects on the meanings of memory as observed through the generations of the saint’s followers, who are key figures in the identity construction of Pedreira, a neighborhood known for its “samba and love” and Afro-religiosity.Item Acesso aberto (Open Access) Mundo metálico belenense e política cultural: declínio e reorganização do heavy metal paraense (1993-1996)(Universidade Federal do Pará, 2014-12-05) SILVA, Bernard Arthur Silva da; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361This paper seeks to explain why and how the art world and Para underground circuit of Heavy Metal and the actions of its practitioners, after the 3rd Rock 24 Hours between 1993 and 1996, began to enter the transition process, accompanied by declining dispersion and sprawl, the city of Belém, resulting in the gradual decrease of events of Heavy Metal, along with elimination of the presence of metal shows at the Experimental Theatre Waldemar Henrique, Municipal Theatre of São Braz Market, Square Artist / Centur Circus and Republic Square, while setting "a modification of the city‟s metal map" by the emergence of other spaces for concerts, private spaces like Olê-Hello Park Igarapés, Nightclub Rhyno's Nightclub Spectron, Bar, Nightclub slips and Nightclub Insânu, intense stampede of practitioners of development spaces of "metal sociability", reduction in cultural news columns of the leading local newspapers (The Liberal, Diary of Para and the Province of Para), accusatory and prejudicial treatment given to the Heavy Metal and Rock in Pará relation to the 3rd Rock 24 Hours a cultural columns of some paraenses journals (The Liberal and Diary of Para), continued to launch (demo-tapes and albums in vinyl format) metal phonograph records and the gradual and permanent change in state cultural policy facing public spaces used by local Heavy Metal and Rock. Newspapers, magazines, fanzines, videos, concerts, posters, flyers, interviews and recorded such actions were used to make this discussion.Item Acesso aberto (Open Access) Pela margem da cidade: lazer, sociabilidades e controle social no subúrbio belenense em meados do século XX(Universidade Federal do Pará, 2024-02-23) GOMES, Elielton Benedito Castro; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264This research is focused on social history in the Amazon. It deals with leisure experiences and sociability of residents from suburban neighborhoods from Belém do Pará, in the middle of 20th century, specifically in the districts of Guamá, Condor and Jurunas, the three nearby the Guamá riverside. In addition to the interest on practices and perceptions from residents related to leisure and sociability, is also of interest the activity of public security officers dedicated to the control and repression of practices from local residents related to leisure events and entertainment. The historical sources accessed are newspaper clippings – available in libraries and public archives in Belém – chronicles and memory novels, that yield a version about the city in the past, as well as oral stories of men and women that used to live in the paraense capital in the middle of 20th century and have experienced the effervescence of the urban life in religious feasts, cabarets, Saint John‟s festivities, carnival associations, dance houses, among others.Item Acesso aberto (Open Access) Periferia e negritude: ritmo e poesia (rap) como produção estratégica do mundo periférico em Belém-PA (1996-2023)(Universidade Federal do Pará, 2024-04-08) MAIA, Emily Maria Pantoja; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264In 1994 saw the first appearance of a rap group in the city of Belém do Pará. Emerging from the Terra Firme neighborhood, on the outskirts of Belém, the MBGC group - Manos da Baixada do Grosso Calibre - revolutionized with a new musical style to portray the reality of Belém's outskirts. Since the 1980s, a time of great change in cultural representation, including the historiographical sphere, rap has spread worldwide as a way of mirroring popular culture and the dissatisfactions suffered in neighborhoods far from the centers. It emerged in the 1970s in the United States, after a period of great crisis, as an innovative way of getting around the neglect experienced by young people in marginalized neighbourhoods. On the Brazilian scene, rap began as a form of entertainment and later became politicized. Thaide and DJ Hum started national rap and soon other names emerged, gaining prominence, such as Racionais Mc's, who gave rap an engaged form. As a result of these events and the visibility of rapping in the Belém newspapers and hip hop culture, the musical style gained strength and influenced new subjects in the region, paying attention to the Amazonian scenario and the difficulties suffered by the city's neighborhoods, including artists from Pará such as Pelé do Manifesto and Th do 91, with great visibility in "abolitionist poems". In this way, the general aim of this work is to understand the possibilities of the rap musical style as being susceptible to historical analysis and understanding, in that it includes people from the periphery - Pelé do Manifesto, Th do 91 and others who started the movement such as Mc Negro Edi, Bruno BO, Marcelo Muslim, Dj Morcegão - with their rhymes loaded with aspects of diasporic culture. Rap is a style characterized as "spoken song", which seeks to counter social, economic, cultural and historical injustices, and takes on the role of portraying realities faced strictly by black people, and can therefore be characterized as an effect of colonization. In view of this, it is noticeable that it stimulates thoughts contrary to a formed hegemony, in order to confront cultural tensions and racism.Item Acesso aberto (Open Access) Ruy, Paulo e Fafá: a identidade amazônica na canção paraense (1976-1980)(Universidade Federal do Pará, 2010-05-14) SILVA, Edilson Mateus Costa da; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361During the 60‟s and 70‟s, in the 20th century, has taken place a process of “Political and Economical Integration” of the Amazon Region to the rest of Brazilian nation-state, established by the Federal Government. This process created harsh consequences to the Amazonian inhabitants‟ imaginary, since means of communication were included in this governmental strategy, as well as roads, oriented to link and diminish regional disparities. The “integration” generated an infrastructure capable of attracting industries to the region. Nonetheless, many journalists and intellectuals at that time identified this as “new colonization” process. According to them, the capital generated had not produced social improvements the Amazonian populations. Besides, the contact with Brazilian culture through radio and television broadcasts had deeply influenced the paths of paraense‟s politics and art. The popular music in Pará state was influenced by MPB in the 60‟s. However, departing from these debates about a “new colonization”, we can realize that the artistic sense became regionally Amazonian, as a new approach of political support to left-wing regional intellectuals and journalists. In this work, it is explained how this common ground appeared in the songs of the singer and composer Paulo André, in partnership with his father Ruy Barata (poet and lyric writer). Besides, it is developed an analysis concerning the career of the singer Fafá de Belém. It is discussed how her broadcast appearances influenced in the debated and (re) construction of the imaginary concerning the Amazon region.Item Acesso aberto (Open Access) Vanguardismos e modernidades: cenas teatrais em Belém do Pará (1941-1968)(Universidade Federal do Pará, 2016-03-03) BEZERRA, José Denis de Oliveira; AMORIM, Ana Karine Jansen de; http://lattes.cnpq.br/5875820201443540; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361This thesis aims at the analysis of the theatrical cultural practices in Belém do Pará, state of Pará, Brazil, from 1941 to 1968, by considering amateur and student´s theatre ideologies and movement, whose fundamental project was the transformation of local theatre practices. The materials for this research were collected in private and public institutions archives and in Brazilian scholars´ bibiographical production. From these materials, we have investigated how performances (“poetic products”) have created a dialogue with the sociopolitical environment in Brazil and in Pará during those years. Artists and intelectuals aesthetic principles in this cultural movement revealed important modernizing and avant garde actions and perceptions on culture and art. On account of that the production proposed by the groups Teatro do Estudante do Pará (1941-1951), the Norte Teatro Escola do Pará (1957-1962) and the Serviço de Teatro at the University of Pará (1962-1967) have confronted others theatre forms – specially the ones related to commercial and popular theatre practices – that represented what we define as a tradition. In the final analysis we conclude that cultural production have been articulated and grounded under erudition principals proposed by those traditional groups during three decades in Pará´s 20th century theater. The government arts funding, formal art education and arts renewing potency, among other reasons, have motivated the “avant garde artists” to think and to make theatre as an important artistic and intelectual mobilization field in Para´s society.