LEADER 00000nam  2200373   4500 
001    AAI3140389 
005    20101228131621.5 
008    101228s2004    ||||||||||||||||| ||eng d 
020    9780496875306 
035    (UMI)AAI3140389 
040    UMI|cUMI 
100 1  Santos, Regina Lopes dos 
245 10 Brazilian popular music and modernist discourse on 
       national identity 
300    170 p 
500    Source: Dissertation Abstracts International, Volume: 65-
       07, Section: A, page: 2623 
500    Director:  Fred Clark 
502    Thesis (Ph.D.)--The University of North Carolina at Chapel
       Hill, 2004 
520    This dissertation examines the notion of national identity
       proposed by the intellectuals who took part in the Week of
       Modern Art in 1922, and relates the metaphor of cultural 
       cannibalism to the main musical phenomena that occurred in
       Brazil from the early 1950s to the late 1970s. In Oswald 
       de Andrade's manifestos, he elaborates the need to return 
       to Brazilian origins and, at the same time, develops a 
       national culture that incorporates foreign elements into 
       Brazilian tradition. Andrade is in favor of devouring 
       other cultures and absorbing any external influence that 
       may enrich and empower the articulation of nationhood 
520    This study takes into account Madan Sarup's notion of 
       identity in  Identity, Culture and the Postmodern World, 
       in which he elaborates the importance of culture in the 
       construction of a collective self-awareness within a 
       nation. Sarup claims that identity is a social 
       construction, which consists of contradictions and 
       ambiguities, and that it can be comprehended only through 
       a process of interaction among people, institutions, and 
       practices. Yet, he argues that the process of 
       identification within a specific group leads to cultural 
       hegemony, which reflects the way a particular society 
       thinks and contributes to legitimate nationhood. In this 
       sense, regional identity contributes to the formation of 
       an authentic national expression and consciousness 
520    The musical phenomena analyzed in this study include Bossa
       Nova, which began in the late 1950s, Tropicalismo, which 
       took place in the late 1960s, and Clube da Esquina, which 
       originated in the early 1970s. These musical productions 
       are viewed as articulations of cultural cannibalism, as 
       they incorporated foreign elements into Brazilian rhythms 
       and gave birth to original products, representing 
       Brazilian hybridity and diversity. This analysis also 
       considers the social and political background of Brazil 
       during the time these phenomena emerged as innovative 
       cultural productions. The corpus of MPB (Brazilian popular
       music) is examined in terms of its poetic contents and 
       their contribution to the formation of national identity 
       in the twentieth century, as they shaped the view of 
       Brazilian reality in the national and international scenes
590    School code: 0153 
650  4 Literature, Latin American 
650  4 Anthropology, Cultural 
650  4 Music 
690    0312 
690    0326 
690    0413 
710 2  The University of North Carolina at Chapel Hill 
773 0  |tDissertation Abstracts International|g65-07A 
856 40 |uhttp://pqdd.sinica.edu.tw/twdaoapp/servlet/