Dissertações em História (Mestrado) - PPHIST/IFCH

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/4190

O Mestrado Acadêmico iniciou-se em 2004 e pertence ao Programa de Pós-Graduação em História (PPHIST) do Instituto de Filosofia e Ciências Humanas (IFCH) da Universidade Federal do Pará (UFPA).

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Agora exibindo 1 - 17 de 17

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Abrem-se as cortinas: arte, política e o teatro experimental na trajetória do grupo Cena Aberta em Belém (1976-1990)
(Universidade Federal do Pará, 2023-09-12) COSTA, Maria Rosa Cunha da; PACHECO, Agenor Sarraf; http://lattes.cnpq.br/5839293025434267
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Os Cadernos do Promotor: as ações do Tribunal do Santo Ofício no Maranhão e Grão-Pará (1640-1750)
(Universidade Federal do Pará, 2018-06-25) CARVALHO, Leila Alves de; ARENZ, Karl Heinz; http://lattes.cnpq.br/4213810951901055
This research aims to analyse how the actions of the Court of the Holy Office in the Portuguese Amazon – Maranhão and Grão-Pará – within the temporal space which extends from 1640 to 1750. The intention is to understand the strategies employed by the Holy Office as a way of spreading its power in a period prior to the Visitation of 1763 during Pombal’s rule within the reality of the colony market by its huge extension and its diverse populations. In this context, we search to identify its agents, as well as the forms used to implement moral and religious discipline in this space and in this society. We will base ourselves, as main source, on the manuscripts of the Promoter of the Inquisition of Lisbon, and through them, try to detect the procedures established by the inquisitorial agents; quantitatively and qualitatively, which were the most relevant complaints from the Court's point of view; and to identify, for which reason some complaints did not turn into processes.
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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/0000-0002-0223-9264
This 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.
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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/0000-0002-0223-9264
This 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.
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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/0000-0002-0223-9264
The 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.
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Entre a igreja e o estado: atribuições e atribulações de um bispo ultramontano na Amazônia (1844-1857)
(Universidade Federal do Pará, 2017-02-08) ANDRADE, Allan Azevedo; NEVES, Fernando Arthur de Freitas; http://lattes.cnpq.br/1491729914353266
The present dissertation proposes to analyze the religious-political position of D. José Afonso de Moraes Torres while he was at the head of the diocese of Pará between 1844 and 1857. For that, it is essential to understand his actions and mishaps to administer the spiritual and materially the bishopric , bringing with it the novelty of the ultramontane campaign, at the same time that it was in constant dialogue with the civil power in favor of the Catholic cause.
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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/0000-0002-0223-9264
The 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.
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Entre índios e verbetes: a política linguística na Amazônia portuguesa e a produção de dicionários em língua geral por jesuítas centro-europeus (1720-1759)
(Universidade Federal do Pará, 2017-08-22) PRUDENTE, Gabriel de Cássio Pinheiro; BARROS, Maria Cândida Drumond Mendes; http://lattes.cnpq.br/1026942131180068; ARENZ, Karl Heinz; http://lattes.cnpq.br/4213810951901055
The purpose of this dissertation is to analyze the linguistic policy of the Society of Jesus and the Portuguese government for the State of Grão-Pará and Maranhão and to relate it to the production process of three dictionaries in “General Language” written by Jesuits of Central European origin who worked in the Amazon Region in the context of the Pombal reforms in the 1750s. Firstly, it sought to understand the guidelines of Society of Jesus for a choice and standardization of an Indian language in Brazil for the catechization of the indians and positioning of the jesuits and Portuguese State in relation to “General Language” in Amazonia. Secondly, it was reconstituted the trajectory of a group of european center jesuits in Portuguese Amazonia in the mid eighteenth century,whose members probably wrote three dictionaries in “General Language”. Finally, using the concept of cultural mediation, the dictionaries are understood as products of a process of negotiation of meanings, constituting both translation and classification texts, as well as instruments for learning the “General Language”. Apart from the merely technical or practical aspect, the vocabularies are analyzed as texts continuously updated by the Jesuit authors based on their experiences acquired in the complex living together with the Indians inside the missions.
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Entre o cinema e a locomotiva: os documentários de Edivaldo Moura como escrituras fílmicas de um passado castanhalense (1940-1995)
(Universidade Federal do Pará, 2024-02-26) OLIVEIRA, Matheus de Sousa; PETIT, Pere; http://lattes.cnpq.br/8376409779394321; https://orcid.org/0000-0002-8970-3073
This research aims to analyze the process of filmic writing of part of the urban daily life of the 20th century (1940-1995) in the city of Castanhal (Pará) through two documentaries produced by the paraense filmmaker Edivaldo Moura, which are O Cinema de Seu Duca (2016), that addresses the multicultural trajectory of Cine Argus during its nearly six decades of operation in the city; and A Última Maria (2021), that focuses on some of the structural elements of the Bragança railway (EFB) in the daily life of the inhabitants of Castanhal, safeguarding the Castanhal locomotive and the railway station as protagonists. Both films are structured in similar ways by inviting residents of the city to share their past personal experiences with the main elements that the films envision – the Cine Argus and the Castanhal Locomotive. Film analysis (internal reading) was utilized in conjunction with documents sources to assert the films not as mirrors that represent a past already given by a passive social externality, but rather as producers of a historical movement proper to the Castanhal period addressed and, mainly, to its present producer. As a result, the films were understood as creators of a temporal intelligibility that anchors the present-past by formulating their own specific writings of part of the urban transformation of Castanhal, having the cinema and the locomotive, along with the social experiences developed in these spaces, as supplanted symbols – and at the same time resistant – of the policy of urban-commercial remodeling of Castanhal initiated vigorously from the second half of the 20th century in the city.
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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/2563255308649361
This 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.
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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/2563255308649361
The 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.
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"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/0000-0002-0223-9264
This 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.
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Objetos entre contextos e significados: as coleções etnográficas do Museu Paraense Emílio Goeldi entre 1894 e 1905
(Universidade Federal do Pará, 2021-07-30) COELHO, Matheus Camilo; SANJAD, Nelson Rodrigues; http://lattes.cnpq.br/9110037947248805; https://orcid.org/0000-0002-6372-1185
This study aims to investigate the process of musealization of ethnographic collection placed in the Museum Paraense Emílio Goeldi (MPEG), named Lauro Sodré (1897), Henri Coudreau (1898), Frei Gil Vilanova (1902) and Koch-Grünberg (1905). Not only centered in the collector’s protagonism but comprehending the collection processes as a polysemic practice, this research intent to comprehend its role in social and political context, interests of the museums, their scientific agenda, trajectory and conceptions of the producing communities and collectors, the collaboration and circulation networks on Amazon region.. The four collections are relevant to Curt Nimuendaju Technical Reserve Ethnographic Collection at the Goeldi Museum due to their acquisitions during a restructuring and reorganization period, and also, in a way, represent three distinct contexts of collecting indigenous artefacts in Amazon at the end of 19th century and 20th century beginning, led by a French explorer, a Dominican missionary, and a German ethnologist. Their study certainly allows us to analyse how different political and social contexts, religious, philosophical, cultural, scientific thoughts and the relationships between indigenous peoples and collectors acted in objects selection and rejection that make up the aforementioned collections.
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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/0000-0002-0223-9264
In 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.
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Quantos mundos há na arte? Crítica de arte em Belém do Pará (1896-1914)
(Universidade Federal do Pará, 2024-06-21) SOUZA, Gabriel Borges; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
In the passage from the 19th to the 20th century, the city of Belém do Pará experienced several transformations due to the synthesis between the economic boom related to the commercialization of intoxicated with the modernizing mentality characteristic of the period that became known by historiography as the ―Amazonian Belle Époque‖ (1870-1912). In the cultural sphere, intertwined with political projects, a circuit of Fine Arts exhibitions began to gain notoriety and become more dynamic, with Belém being requested, at the time, by several national and international artists to exhibit their works, mainly from 1905 when the foyer Theatro da Paz passed through its hall destined to the reception of exhibitions. This dissertation intends to follow a path of analysis reflecting on the role of art criticism in this circuit of exhibitions that has already been explained. Knowing that the press of the period has a direct influence on the publication of criticism, we will aim, from the analysis of two periodicals of the period as primary sources, to understand and problematize the role that critics and their published texts play in the consolidation and dissemination of the Belem's Fine Arts circuit of the centuries.
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Ser gay não é fácil, ser umbandista é mega e os dois juntos é bem difícil: afrorreligiosidade e homoafetividade nos terreiros de Umbanda em Igarapé-Açu/PA
(Universidade Federal do Pará, 2024-08-08) MORAES, Marlison Souza; PACHECO, Agenor Sarraf; http://lattes.cnpq.br/5839293025434267
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Veias de spray: o movimento artístico do graffiti em Belém do Pará (1980-1999)
(Universidade Federal do Pará, 2024-10-04) CONCEIÇÃO, Edvan da Silva; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
As we walk around the city every day, multiple stimuli are heard and felt. These stimuli can be present in different ways, whether through sounds, noises or visually through records of human presence in this space. Graffiti becomes one of these stimuli, which are consumed daily by the various individuals who create the urban landscape of a city in their social interactions. Bearing in mind the importance and constant presence of graffiti and pixação in the urban scene of Belém, the question was: do these movements constitute sociocultural products, which contributed to the individual and collective identity formation of certain groups, reflecting on the social dynamics of domination of spaces in the urban scenario of the city of Belém, during the 1980s and 1990s? This research was developed through three movements, bibliographical and source research, interviews and finally, the writing of this dissertation, which is divided into three parts, the first two are subdivided into topics which contextualized the theme in question, the last part, presents the position of the researcher. Therefore, we emphasize that the movement analyzed in this research falls within the field of urban art, integrating itself into the landscape of a city, exposing existences and tensions present in the social fabric.

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