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Finsch, Susanne. "Die Bedeutung der Beatles im Wandel der Zeiten von 40 Jahren Popmusik." Duisburg Köln WiKu, 2008. http://d-nb.info/987901699/04.
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Julien, Olivier. "Le son Beatles." Paris 4, 1999. http://www.theses.fr/1998PA040259.
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Le concept de son est à la base des préoccupations techniques de ceux qui font le rock - ingénieurs du son, bien sûr, mais aussi musiciens et producteurs. Son appréhension fait appel à de nombreuses notions étrangères à la sphère des musiques savantes jusqu'à la fin des années quarante : arrangements, prise de son, balance, mixage, panoramisation, traitement sonore. . . Autant de termes dont le musicologue classique ignore souvent jusqu'au sens, et autant de paramètres dont l'étude musicologique d'un tel répertoire ne peut cependant faire l'économie. En envisageant sous leur angle le travail d'un groupe dont Greil Marcus affirme qu'"ils étaient le rock 'n' roll", on peut donc espérer développer une méthode d'approche adaptée à la réalité pratique de cette musique. Et au-delà du cas Beatles, mettre en lumière le rapport quasi unique qu'elle entretient au studio d'enregistrement et au support phonographique<br>The concept of sound is the foundation of the technical concerns of those who make rock - sound engineers, of course, but musicians and record producers as well. Its apprehension involves notions which were irrelevant to the realm of art music until the late forties: arrangements, sound recording, balance, mixdown, panning, sound treatment. . . Many terms the meaning of which classical musicologists are often ignorant, and as many parameters the musicological study of such a repertoire must take into account. Considering from their point of view the work of a band whom Greil marcus states "they were rock 'n' roll", it can be hoped to develop an approach adapted to the practical reality of this music ; and beyond the case of the Beatles, to bring to light the very nature of its connections with the recording studio and phonographic medium
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Villinger, Alexander. "Die Beatles-Songs : Analysen zur Harmonik und Melodik /." Aachen : Verl. Mainz, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015481564&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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McGuire, Meghan. "Covering music : tracing the semiotics of Beatles album covers through the cultural circuit." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1112552888.
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Anjos, Francisco Fl?vio Oliveira dos. "The Beatles: ensaio sobre a ?tica do amor." Universidade Federal do Rio Grande do Norte, 2007. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13521.
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Previous issue date: 2007-10-01<br>The thesis intends to discuss the ethics by the way of love. So, it uses as a mention the musical work and the set of attitudes of the group that changed the way of thinking across the 20th Century mass-comm, entering a new way of
thinking about the World: The Beatles. Analyzing the lyrics and the writing of the songs was searched the comprehension of he intrinsic love message at the Ethics it expresses. At the musical art of The Beatles political messages had
been announced in a time that the World sought a Ethic way beyond the several declared war and the Cold War. Taking the Edgar Morin works as a base, O m?todo 6, ?tica (2005), it sought to understand the idea who permeates the human relations: the good, the possible, the necessary. Another works used as a cognitive base were Meus dem?nios (2003), Cultura de massas no S?culo XX: neurose (2005), Cultura de massas no S?culo XX (2006), The Beatles Anthology (2000) and Many years from now (2000). Holding the Ethics idea
showed by Morin were established imaginary lines that perpass the behavior of the group known in the entire World understood till nowadays as tolerance, comprehension, peace, love and endurance messengers. The Beatles operate
during the sixties a musical reborn, which allowed to the people the discussion and the reflexion about the World and the human being new behavior,endurance but acting with tolerance. Permeating the basic study, we find the
Beatles way, the group origin, the fast walk till success, the spiritual choice, who guide their behavior and the end of the band. The music used as a masscomp instrument passes by the condition of a simple way of communicating. It
deeply action feeds feelings, allows transcendence and is showed as target of human being transformation. The Ethics in music passes by the ideological barriers and becomes to comprehension with a clear synthony for the man, cause the polyphony and the new musical order establish the messages
worldwide<br>O trabalho pretende discutir a ?tica pela via do amor. Para tanto, utiliza como refer?ncia a obra musical e o conjunto de posturas do grupo que modificou as mentalidades
atrav?s da cultura de massa no s?culo XX, introduzindo uma nova forma de pensar o mundo, The Beatles. Analisando as letras das m?sicas do grupo e a feitura das can??es,
procurou-se compreender a mensagem de amor intr?nseca na ?tica expressa. Na arte musical dos Beatles foram anunciadas mensagens pol?ticas numa ?poca em que o mundo buscava um direcionamento ?tico frente ?s in?meras guerras declaradas e ? cruel guerra fria. A partir da obra direcionadora de Edgar Morin, O m?todo 6, ?tica (2005), buscou-se compreender a id?ia que permeia as rela??es humanas: o bem, o
poss?vel e o necess?rio. Outras obras que servem de suporte cognitivo foram Meus Dem?nios (2003) e Cultura de Massas no S?culo XX: necrose (2006), ambas do mesmo autor,
Edgar Morin, e ainda The Beatles, Antologia (2000). Detendo a id?ia de ?tica apresentada por Morin, foram tra?adas linhas imagin?rias que perpassam as posturas do grupo de rapazes conhecido no mundo inteiro, e que at? os dias atuais s?o entendidos como mensageiros da toler?ncia, da compreens?o, da paz, do amor e da resist?ncia. Os Beatles operaram durante a d?cada de 1960 um renascimento musical, o qual permitiu ?s massas a discuss?o e a reflex?o acerca do mundo e da nova postura do humano, resistente, embora tolerante. Permeando o estudo central, apresenta-se a trajet?ria dos
Beatles, a origem do grupo, a caminhada r?pida ao sucesso, a busca espiritual orientadora da conduta do grupo e o seu fim. A m?sica utilizada como instrumento de comunica??o de massa ultrapassa a condi??o de simples comunicadora. Sua a??o mais profunda alimenta sentimentos, permite a transcend?ncia e configura-se como objeto de
transmuta??o do humano. A ?tica na m?sica perpassa as barreiras ideol?gicas e chega ? compreens?o numa clara sintonia para o homem, pois a polifonia e a nova ordem
musical estabelecem uma universaliza??o das mensagens
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Tessler, Holly Susan. "Beatles for sale : the role and significance of storytelling in the commercialisation and cultural branding of the Beatles since 1970." Thesis, University of Liverpool, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510946.
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The subtitle to this thesis is: 'the role and significance of storytelling in the commercialisation and cultural branding of the Beatles since 1970'. In large part, this idea has been informed by, and evolves from, experiences of the role and significance of storytelling in my own Beatle fandom, as I came to the story of the Beatles before I ever consciously listened to their music. I was 10 years old in 1980, the year of John Lennon's assassination, and I had never heard of the Beatles. I suppose it was seeing endless streams of news reports about the Beatles and John Lennon's death that took me not to the record shop, but instead, the public library to learn more about them. More than just the catalyst for my awareness of, and interest in, the Beatles, stories about the Beatles continued to feature prominently in my ongoing fandom. From a contemporary perspective, it seems almost unimaginable, but as a young Beatles fan growing up in 1980s America, there was almost no Beatle products on the market. Besides Beatle records, the regular purchase of new Beatle books was the only readily available opportunity I had to express and indulge my fandom. It was only when news of George Harrison's death from cancer broke on 29th November 2001, however, did I realise just how little time I had taken to explore Liverpool's Beatles connections. Until that time, I had never paused to consider the fact that Beatle storytelling was not just a process that happened in books and documentaries, but was alive and dynamic, implicated with places and people and events, happening in ways and through means which extend far beyond the Beatles themselves. Realising that the Beatles were autochthonously bound up with the wider cultural, material and historical frameworks of not only Liverpool, but also places like London, Hamburg, New York, and even more broadly still of British popular history and culture, catalysed me into thinking more substantially about the further implications of Beatle storytelling. At the same time, I also began to think about the inverse - how all of these Beatle storytelling enterprises impacted on the group themselves. It is in consideration of all of these observations that I undertook the research presented here.
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Marcato, Silvia <1988>. "A sociological approach to The Beatles' protest songs." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3353.
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Nilsson, Ellinor. "The Beatles i Sverige år 1963 : En studie om The Beatles studioinspelning på Karlaplan samt gruppens mottagande i media under samma turné." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-182833.
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Abstract Ellinor Nilsson: The Beatles i Sverige år 1963. En studie om The Beatles radioinspelning på Karlaplan och gruppens mottagande i media under samma turné [The Beatles in Sweden 1963. A study of The Beatles’ radio recording on Karlaplan and how the group was depicted in Swedish media during the tour]. Uppsala universitet: Institutionen för musikvetenskap, examensarbete 15 högskolepoäng, 2012. In October 1963 The Beatles started their first tour abroad, which took place in Sweden. Except for their concerts and their participation in a television show, they also did one recording to be broadcasted on radio. The aim of this study is to define how come The Beatles chose to travel to Sweden and why the group was an interesting product for the Swedish organizers. The study compares the group’s radio recording with the same but published songs and introduces articles and announcements from newspapers of the same time. One inference of the study is media’s focus on The Beatles’ appearance. That their recording on Karlaplan has more distorsion and a higher BPM number than their record recordings is another. The several connections between The Beatles and Sweden is, what I interpret, the main reason why Sweden was the tour’s destination.
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Connolly, Michael. "Genre and parody in the music of the Beatles." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52892.
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From the earliest outbreak of “Beatlemania” in 1963 to the announcement of their breakup in 1970, The Beatles fulfilled, exceeded, and reformed our conceptions of popular music. They have enjoyed an enduring popularity with critics and audiences and have cemented their position as one of the most celebrated acts in popular culture. Although it would be difficult to attribute their success to a single factor, it could be argued that their eclectic sound ensured their mass appeal. As their careers progressed, The Beatles effortlessly combined and moved between different genres. Many of these genres were atypical for popular music of the 1960s and can be regarded as parody. This thesis approaches parody as an important stylistic trait of The Beatles’ music.
Parody is a broad concept that can be found in a number of forms of art and entertainment. By drawing from literary criticism and musicological discourse, this study develops a broader understanding of parody in which popular musicians evoke the music of another genre through borrowing and create a critical distance between their work and the preexisting one. Further investigation reveals how The Beatles applied parody to their music and how it was used by the band to connect with their listeners. In such songs as “Back In The U.S.S.R.” and “Happiness Is A Warm Gun,” The Beatles parody different musical genres in order to evoke social commentary. Genre parody is not exclusive to individual songs. It is one of the unifying threads in Sgt. Pepper’s Lonely Hearts Club Band, in which The Beatles parody the English music hall and use genre to connect themes on the album. Despite these instances, parody remains an underexplored practice in their music. Many scholars of the band will acknowledge the musical and critical elements associated with parody; however, they do not use the term, nor identify parody as a recurring practice in The Beatles’ music. This thesis hopes to shed light on this topic and add to our understanding of the rich legacy of The Beatles.<br>Arts, Faculty of<br>Music, School of<br>Graduate
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Inglis, Anthony Ian. "'Burning matches, lifting latches' : sociology, popular culture and the Beatles." Thesis, Online version, 2003. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.490588.
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Costa, Juliano. "Sgt. Pepper's Lonely Hearts Club Band, dos Beatles, no contexto brasileiro." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/129330.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2014.<br>Made available in DSpace on 2015-02-05T20:57:49Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>A tradução de canção é uma área de pesquisa relativamente pouco explorada nos Estudos da Tradução. Uma ilustração para a escassa pesquisa produzida são os trabalhos de Low (2003), no contexto internacional, e Rocha (2013), no contexto nacional, que exploram a tradução de canções para serem cantadas, nas quais são conjugados os códigos linguístico e musical. Menos exploradas ainda são as questões ligadas à tradução de letras de música, produzidas para fins de compreensão do material textual pelo leitor/ouvinte do ambiente de chegada, onde a canção é recebida. Nesse contexto, a presente pesquisa investiga as letras das canções dos Beatles de 1967, durante a efervescência dos movimentos sociais dos anos 60, nos quais a obra do grupo representou a forma de pensar, a visão de mundo, os valores, os comportamentos sociais e as atitudes individuais da época. Dentre a produção, foram selecionadas para esta pesquisa as letras das canções de Sgt. Pepper?s Lonely Hearts Club Band, oitavo disco lançado pela banda britânica, citado frequentemente como o melhor e mais influente álbum da história do rock e da música, pela crítica e o mercado pop. O foco do estudo é a tradução das expressões idiomáticas (EIs), lexias complexas por seu caráter indecomponível, sua fixidez e sentido conotativo, selecionadas por sua alta ocorrência nas letras das canções dos Beatles e pela dificuldade de sua tradução em função de seus aspectos linguísticos e do seu valor cultural. O objetivo da pesquisa é investigar a tradução das EIs, à luz de uma combinação de propostas de categorização, oferecidas por pesquisadores nacionais e internacionais. O quadro teórico em que esta pesquisa se baseia é subdividido em três eixos, a saber:(i) a natureza das expressões idiomáticas em inglês (Chitra Fernando, 1996); (ii) a problemática da tradução dessas lexias (Baker, 2011; Xatara, 1998); e, finalmente, (iii) a especificidade de sua tradução no par linguístico inglês-português brasileiro (Tagnin, 1988; Francisco, 2010). Os procedimentos utilizados para o desenvolvimento da pesquisa incluem: (i) estudo sistematizado sobre a natureza e configuração das EIs; (ii) estudo sistematizado de propostas teóricas referentes à categorização das EIs no âmbito de estudos da tradução; (iii) construção de um quadro teórico de categorias a serem usadas na presente pesquisa; (iv) identificação manual das EIs no texto fonte; (v) coleta de dados por meio de identificação manual das traduções propostas para essas EIs; (vi) cotejamento e visualização em forma de quadro; (vii) classificação das ocorrências de tradução conforme quadro de categorias proposto em (iii); (viii) análise e discussão dos dados. Os resultados da análise apontaram para uma tendência a utilização de paráfrases para a tradução das expressões idiomáticas encontradas nas letras de Sgt. Pepper?s Lonely Hearts Club Band.<br><br>Abstract : The translation of songs is a field of research which is, relatively, little explored in Translation Studies. An illustration of this scarce research are the works of Low (2003) in the international context, and Rocha (2013), in the Brazilian context, who explore the translation of songs, in which the musical and the linguistic codes are assembled. Even less explored are the issues connected to the translations of lyrics, intended just for the comprehension of the textual material by the reader/hearer of the target environment, where the song is received. In this context, this research investigates the lyrics of the Beatles songs that were released in 1967, during the effervescence of the social movements of the 1960s, in which the work of the band represented the way of thinking, the view of the world, the values, the social behaviour and the individual attitudes of that time. Among the production of the group the lyrics of Sgt. Pepper's Lonely Hearts Club Band -the 8th album released by the band - were selected. This album is frequently regarded, by the critics and the pop market, as the best and most influent album of the history of music. This study focuses on the idioms, frozen patterns of language characterized by its compositeness, institutionalization, and semantic opacity, which were selected for its great occurrence in the lyrics of the Beatles songs and also for the difficulties found in their translations because of their linguistic aspects and cultural values. This research aims at investigating the translations of idioms from a combination of proposals of categories, put forward by national and international researchers. The theoretical framework, on which this research is based, is subdivided in three axes: (i) the nature of idioms in English (Fernando, 1996), (ii) the difficulties of translating these expressions (Baker, 2011; Xatara, 1998) and, finally, (iii) the specificity of its translation from English into Brazilian Portuguese (Tagnin, 1988; Francisco, 2010). The procedures that were used for the development of this research include: (i) systematized study about the nature and configuration of idioms; (ii) systematized study of the theoretical proposals referent to the categorization of idioms in the field of translation studies; (iii) the construction of a theoretical framework of categories to be used in this research; (iv) manual identification of the idioms in the source text ; (v) collecting data by means of manual identification of the translations proposed for these idioms; (vi) collating and visualizing in a table; (vii) classification of the translation occurrences according to the framework of categories proposed in (iii); (viii) analysis and discussion of the data. The results of the analysis pointed to a tendency of using a paraphrase in order to translate the idioms found in the lyrics of Sgt. Pepper's Lonely Hearts Club Band.
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Alves, Miguel Fabrício de Oliveira. "UM CHUTE NO BALDE: O ROCK EXPERIMENTAL E A VANGUARDA NA MÚSICA DOS BEATLES." Pontifícia Universidade Católica de Goiás, 2018. http://tede2.pucgoias.edu.br:8080/handle/tede/4063.
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Previous issue date: 2018-08-31<br>After finally leaving the tour in 1966 at a time when his career reached high levels of public
and market, thus causing a certain break with the parameters of the cultural industry, the Beatles
began to concentrate their work in the studio producing what the critic considers as their more
important works, evidencing a maturation that would show itself from his compositions and
arrangements. Such compositions become more complex, representing their passage from
commercial pop music to more elaborate, experimental and avant-garde music, exposing
influences to various musical currents and references to their experiences with LSD. It is the
purpose of this study to analyze the context in which these changes occurred, the relationship
of the Beatles to their time, psychedelia, oriental mysticism and avant-garde rock sections.<br>Após deixarem definitivamente as turnês em 1966, no momento em que sua carreira atingia
altos níveis de público e mercado, os Beatles trouxeram certa ruptura com os parâmetros da
indústria cultural. O famoso quarteto passou a concentrar seu trabalho no estúdio produzindo o
que a crítica considera como suas mais importantes obras, evidenciando um amadurecimento
que se mostraria a partir de suas composições e arranjos. Tais composições passam a ficar mais
complexas, representando assim sua passagem da música comercial pop para uma música mais
elaborada, experimental e de vanguarda. Nestas composições, expõem influências de diversas
correntes musicais e referências às suas experiências com drogas e com outras culturas. O
objetivo desse estudo é analisar o contexto em que essas mudanças ocorreram, a relação dos
Beatles com o seu tempo, com a psicodelia, com o misticismo oriental e com setores
vanguardistas da música.
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Vlčková, Petra. "Hudba jako výraz životního stylu ve Velké Británii v šedesátých letech 20. století. Příspěvek k evropské konzumní společnosti po roce 1945." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-124637.
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This thesis focuses on the British music scene in the 1960s. Popular music was one of the main manifestations of consumerism and influenced the behavior of most young people. The aim of the thesis is to explain the extent in which popular music played a role in the establishment of a consumer society and, above all, the impact caused by interpreters and music groups on the lifestyle of their listeners and audiences.The thesis also examines how the British music developed in the Sixties and how it was characterized.The thesis is based on the assumption that the 1960s' is a key decade in the postwar history of modern society, a time when fundamental changes occurred in the value systems of most Western societies, notably the British. New generations of young people associated with economic prosperity surfaced at that time, fostering the development of the phenomenon of consumer society, thus changing people's lifestyles.The first part of the thesis is dedicated to economic and social assumptions of the development of the consumer society. The second part of the thesis addresses the social structure of the British society, focusing on the youth - arguably, the social extract that was most appealed by popular music. The core part of the thesis analyses the British music scene in the 1960s, with focus on the music groups and also the music industry and its impal on the lifestyle of youth.
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Saes, Diogo Xavier. "A retórica dos Beatles : a visualidade e as relações multissensorias entre música, imagem e o contexto sessentista nas capas dos discos dos Beatles de 1965 a 1968." Universidade Estadual de Londrina. Centro de Educação, Comunicação e Artes. Programa de Pós-Graduação em Comunicação, 2015. http://www.bibliotecadigital.uel.br/document/?code=vtls000201773.
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The Beatles é uma banda fundada em Liverpool que, embora reconhecida internacionalmente pelo seu legado musical, transcende os limites sonoros e assume uma postura multimidiática, uma vez que seu trabalho não se restringe às composições e gravações de canções, estabelecendo links sinestésicos entre os lançamentos dos discos e o contexto histórico de cada álbum. Com o objetivo de analisar e compreender a relação multissensorial que o grupo estabelece entre as músicas, capa dos discos e o enredo dos anos 1960, esta pesquisa lança mão dos conceitos de Retórica da Imagem, de Jacques Durand, somado às contribuições de Julio Plaza sobre a transposição sensorial, e faz uma leitura dos discos lançados pelo quarteto entre 1965 e 1968, apurando as pontes mais significativas entre as diferentes plataformas as quais os Beatles operaram. Como as capas dos discos possuem a função de embalagem dos vinis que elas resguardam, o conteúdo imagético utilizado como apresentação visual destes materiais pode ser encarado como uma imagem publicitária, possibilitando a identificação de elos retoricados. O período aqui delimitado corresponde principalmente à fase psicodélica e mais criativa da banda, abarcando 5 dos 13 LPs (Long Play) lançados pelos britânicos, sendo, respectivamente, o Rubber Soul (1965), Revolver (1966), Sgt. Peppers Lonely Hearts Club Band (1967), Magical Mystery Tour (1967) e The BEATLES (ou The White Album 1968). A análise aqui empregada identifica as relações e diálogos existentes entre os discos do recorte escolhido e permite uma aproximação dos diferentes suportes utilizados, emparelhando imagem, som e a contextualização contracultural sessentista que se desenvolveu nos Estados Unidos e Inglaterra.<br>The Beatles is a band founded in Liverpool that, despite of the internationally recognition for its musical legacy, transcends the sonic boundaries and assumes a multimedia posture, since their work is not restricted to compositions and recordings of songs, establishing synesthetic links between releases of records and the historical context that each album belongs. Aiming to analyze and understand the multisensory relationship that the group establishes among songs, cover art and the 60s, this research makes use of the concepts of Rhetoric of the Image, by Jacques Durand, added to the contributions of Julio Plaza on sensorial transposition, and takes a reading of the discs released by the band between 1965 and 1968, investigating the most significant links between the different platforms which Beatles were into. As the covers of the discs are used as packing vinyls, the imagistic content used as visual presentation of these materials can be seen as an advertising image, enabling the identification of rhetoric issues. The period defined here corresponds mainly to the psychedelic and most creative phase of the group, covering 5 of 13 LPs (Long Play) released by The Beatles, which are, respectively, Rubber Soul (1965), Revolver (1966), Sgt. Pepper's Lonely Hearts Club Band (1967), Magical Mystery Tour (1967) and The BEATLES (or The White Album, 1968). The analysis used here identifies the dialogues relationships that exist between the discs that are been studying in this research and allows an approximation of the different kinds of media used by the band, putting side by side image, sound and sixties countercultural context that has developed in the United States and England.
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McGuire, Meghan S. "Covering Music: Tracing the Semiotics of Beatles'Album Covers Through the Cultural Circuit." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1112552888.
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Bascom, Cathleen Chittenden. "Jesus and George Harrison's gift preaching with the Children of the Beatles /." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Bertoldi, Maria Tereza Jorgens. "A comunicação visual dos Beatles como sedução no imaginário social e cultural." Pontifícia Universidade Católica do Rio Grande do Sul, 2009. http://hdl.handle.net/10923/2256.
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Previous issue date: 2009<br>This thesis analizes the Beatles visual communication as a seduction in the social and cultural imaginary, based on the iconographic material that is part of the visual registration on the groups gathered so far. It is through it that you show how the public image of a band that surged in the decade of 1960,in the XX century, whose history is imbricated with the origins and the evolution of rock and roll ,was able to revolutionize the cultural history and the imaginary of a generation, as well as contradict the society of that time in its different aspects:the use of drugs, long hair, irreverent gestures, sexual freedom, the liberty of thought, of acts, and of what to wear. The surging of the Beatles occurs in a moment of transition between modernity and post-modernity, also called contemporaneousness, when its permanence as a seduction in the social and cultural imaginary happens as a myth; it is the way chosen to structure this qualitative ,descriptive and hermeneutic research, that comes effective by means of the methodogical referencial of John Thompson's Hermenêutica de Profundidade (1995).<br>Esta tese analisa a comunicação visual dos Beatles como sedução no imaginário social e cultural, tomando como base o material iconográfico que compõe parte do registro visual já reunido até hoje sobre o conjunto. É através dele que se mostra como a imagem pública de uma banda surgida na década de 1960 do século XX, cuja história está imbricada com as origens e a evolução do rock and roll, foi capaz de revolucionar a indústria cultural e o imaginário de uma geração, bem como contradizer a sociedade da época nos seus diferentes aspectos: uso de drogas, cabelos compridos, gestos irreverentes, liberdade sexual, liberdade de pensamento, liberdade no agir, liberdade no vestir. O surgimento dos Beatles ocorre num momento de transição entre a modernidade e a pós-modernidade, também denominada contemporaneidade, quando sua permanência, como sedução no imaginário social e cultural se dá na forma de mito; é o caminho percorrido para estruturar esta pesquisa qualitativa, descritiva e interpretativa, que se leva a efeito através do referencial metodológico da Hermenêutica de Profundidade de John B. Thompson (1995).
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SARMENTO, LUCIANA VILLELA DE MORAES. "TICKET TO RIDE: THE TENSIONS BETWEEN THE COUNTERCULTURE MOVEMENT AND CONSUMPTION IN BEATLES LYRICS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9092@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>A contracultura foi um movimento impulsionado pela
juventude da década
de 1960 que se chocou com a sociedade capitalista e ia
contra os seus princípios.
Entretanto, para que este movimento de contracultura
pudesse se desenvolver,
ele necessitava da cultura de massa - que pertence à
sociedade capitalista - para
se desenvolver e espalhar sua mensagem pelo mundo. São
essas tensões entre
consumo e contracultura que são detalhadas nesta
dissertação, a partir das letras
das músicas dos Beatles (grupo musical que foi um dos
maiores ícones da
contracultura) que retratam, de alguma forma, o universo
do consumo.<br>The counterculture was a movement impulsed by the young
people in the
1960 s decade that ran into the capitalist society and it
s principals. However, for
this movement to work, it needed the mass culture - that
belongs to the capitalist
society - to spread it s message around the world. These
tensions between the
counterculture movement and consumption are detailed on
this dissertation,
inspired on the Beatles lyrics (a rock group that was one
of the most popular
icons of the countercultere movement) that shows, in some
way, the
consumption s universe.
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Rångeby, Andreas. "”Roll up! Roll up for The Magical Mystery Tour!” : om upplevelseindustrin i The Beatles Liverpool." Thesis, Linköping University, Department of Social and Welfare Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-9419.
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<p>During the 19th centaury Liverpool was an industrial city of great magnitude owing to the well-established communication and infrastructure in the area. During the 1950’s the industry decrease swiftly - and although Liverpool as a city gain interest as a result of the sensation of the Merseybeat and The Beatles - the reduction continued through the 70’s and during the 80’s the people of Liverpool suffered from great unemployment. Today Liverpool is a post-industrial city with a growing experience economy that mainly benefits from The Beatles tourism and the Merseybeat-era. The focus of these studies is the experience economy in Liverpool as a result of globalization and production in the late modernity. The study is bases on “partaking” observations and interviews with some of those involved with the experience economy.</p>
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Schneider, Paula. "The visual language of authenticity : mediation and musical performance in the films of the Beatles." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51554.
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In the context of scholarship surrounding the areas of mediation, performance, and authenticity, evidence of the media object is frequently blamed for distancing audiences from their musical idols. This thesis, which uses the films of the Beatles and as its main subjects, considers the contradiction born from the fact that while the Beatles were constantly exposed to forces of mediation - when they were not being photographed by journalists, they were in front of a television or film camera – this has not affected audiences’ willingness to interpret the band’s plethora of on-screen performances as authentic. If technology impedes authenticity, I ask why the highly stylized performance sequences in A Hard Day’s Night, for example, are still able to contribute to the Beatles’ authentic image. I contend that the representational strategies employed in the films of the Beatles creates a visual language that is an essential part of the process of authentication, and that this process transcends the boundaries usually created by the politics and aesthetic strategies associated with particular filmic modes.
I have chosen five of the Beatles’ feature-length films as subject matter for this thesis, which span a variety of filmic modes ranging from the documentary to the fictional, studio-financed narrative film. After a review of pertinent criticism in Chapter One, Chapter Two explores the Beatles’ film of 1964, including The Beatles! The First U.S. Visit (Albert and David Maysles, 1964), The Making of The Beatles! The First U.S. Visit (Smeaton, 2003), and A Hard Day’s Night (Lester, 1964). Chapter Three investigates the films of the following year, using Help! (Lester, 1965) and The Beatles at Shea Stadium (Bob Precht for ABC, 1965). Using the work of Philip Auslander, Michael Brendan Baker, Thomas Cohen, Simon Frith, Theodore Gracyk, and Jonathan Romney, I explore the ways in which the films of the Beatles deliver contemporary audiences positive insight into technology’s capacity to provide viewers with a sense of immediacy, unpredictability, and “liveness”.<br>Arts, Faculty of<br>Theatre and Film, Department of<br>Graduate
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Bertoldi, Maria Tereza Jorgens. "A comunica??o visual dos Beatles como sedu??o no imagin?rio social e cultural." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2009. http://tede2.pucrs.br/tede2/handle/tede/4379.
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Previous issue date: 2009-04-28<br>Esta tese analisa a comunica??o visual dos Beatles como sedu??o no imagin?rio social e cultural, tomando como base o material iconogr?fico que comp?e parte do registro visual j? reunido at? hoje sobre o conjunto. ? atrav?s dele que se mostra como a imagem p?blica de uma banda surgida na d?cada de 1960 do s?culo XX, cuja hist?ria est? imbricada com as origens e a evolu??o do rock and roll, foi capaz de revolucionar a ind?stria cultural e o imagin?rio de uma gera??o, bem como contradizer a sociedade da ?poca nos seus diferentes aspectos: uso de drogas, cabelos compridos, gestos irreverentes, liberdade sexual, liberdade de pensamento, liberdade no agir, liberdade no vestir. O surgimento dos Beatles ocorre num momento de transi??o entre a modernidade e a p?s-modernidade, tamb?m denominada contemporaneidade, quando sua perman?ncia, como sedu??o no imagin?rio social e cultural se d? na forma de mito; ? o caminho percorrido para estruturar esta pesquisa qualitativa, descritiva e interpretativa, que se leva a efeito atrav?s do referencial metodol?gico da Hermen?utica de Profundidade de John B. Thompson (1995).
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Netterstedt, Olof. "Tio i topp, Beatles och dixiekolor : En studie i hur 60-talet skildras i tre romaner." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-141640.
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Lancianese, Donna A. ""Baby, you're a rich man" (the Beatles 1967): at the intersection of social class and gender." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1350.
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Many social scientists consider race, class, and gender to be the three main axes of inequality and a plethora of research covers these topics. As such, a wealth of knowledge has accumulated about how they affect individuals' life chances and trajectories. Much is also known about how race and gender affect interaction, but what about social class? Little is known about the role of social class during interaction compared to gender and race. Thus, the focus of this thesis is to better understand the effect of social class during interaction. Moreover, I examine social class in combination with gender.
I first present meta-theoretical orientations to interaction, social class, and gender. I orient my empirical studies with the theoretical research program of Expectation States Theory (EST). In Chapter 2, I explicate Status Characteristics Theory (SCT), a robust theory from EST. Here I provide two innovations. First, I link implicit social cognition to SCT, and second, I provide illustrations of the mechanisms of SCT. In Chapter 3, I present descriptions of a "rich guy" and "poor guy" from focus groups of University Iowa undergraduates. Two very distinct profiles emerged. In Chapter 4, I present a 12-condition experiment to test explicit and implicit cues of social class on status processes in isolation and in combination with gender. Using the standardized experimental setting of EST, I present social class as a series of interactional cues, which to my knowledge is a first in the EST tradition. The data partially support the theory. In Chapter 5, I discuss the empirical chapters, limitations of the studies, and future directions.
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Molina, Sergio Augusto. "A composição de música popular cantada: a construção de sonoridades e a montagem dos álbuns no pós-década de 1960." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-12052015-002336/.
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Este trabalho propõe uma fundamentação teórica para investigação de determinadas técnicas de composição de música popular cantada que surgiram e se consolidaram a partir da década de 1960. Considera-se que o desenvolvimento tecnológico desse período permitiu à música popular cantada, a partir de então, realizar operações composicionais por processos de montagem, diretamente em fita. Adaptando para o campo da música formulações cunhadas originalmente por Mikhail Bakhtin para o discurso verbal, propomos um entendimento do álbum de fonogramas como um gênero complexo do discurso musical que se organiza na forma-momento. Considerando cada fonograma como um momento distinto no sentido sugerido por Stockhausen estuda-se, especialmente, a construção das sonoridades em contraste, tendo como referência as ferramentas de análise propostas por Didier Guigue para a música do século XX. Nesse contexto, discutem-se, também, as interações rítmicas de base que particularizam a música popular das Américas, resultantes do embate entre os ciclos assimétricos herdados da música tradicional africana e os compassos simétricos da música europeia dos séculos XVIII e XIX. Como conclusão, as ferramentas apresentadas são aplicadas na análise da montagem do álbum Minas, de Milton Nascimento.<br>This work puts forward theoretical grounds for an investigation into some musical composition techniques to sung popular music introduced and consolidated since the 1960s. It is believed that technological advances in the period enabled sung popular music artists to begin to explore new compositional approaches by physically editing recorded tapes. Transposing concepts of verbal discourse introduced by Mikhail Bakhtin into music, we advance the understanding of a recorded album as a complex genre of musical discourse organized in a moment form. Assuming each phonogram to be a self-contained moment as suggested by Stockhausen , we primarily study the weaving of contrasting sonorities by using Didier Guigues analytical framework for the music of the 20th century as reference. In this context, we also discuss the rhythmic interplay so characteristic of popular music in the Americas, which arises from the clash between the asymmetrical patterns inherited by the African music tradition and the symmetrical measures of Europe-based music of the eighteenth and nineteenth century. In conclusion, the proposed tools are applied to the analysis of the editing of Milton Nascimentos album Minas.
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Piotrowski, Stephanie Anne. ""All I've got to do is act naturally" : issues of image and performance in the Beatles' films." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/51353.
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In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. Such elements in the Beatles’ carefully constructed image reflected youth culture and countercultural thoughts and beliefs. Finally, through a close analysis of the Beatles’ musical sequences I have shown how experimentation with artistic synergy enabled the band to produce new and innovative films and lyrics while allowing each member to develop as individual musicians. This experimentation and willingness to undermine traditional film and pop music practices helped to change artists’ approaches in the entertainment industries.
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Ucciardo, Patrick <1988>. "The Myth of the Fab Four: a Psychedelic Trip Inside the Beatles Rock Music of the 60s." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9804.
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This study provides a detailed analysis of the Beatles’ rock music from a literary and historical point of view, referring to the psychedelic context of England from the early 1960’s to the mid 1970’s. The boy band (composed by John Lennon, Paul McCartney, George Harrison and Ringo Starr) appears to be an innate revolutionary group of the twentieth century. This thesis explores the sense of rupture, detachment and ideological and political distance between the group and the upper English class that Beatles never failed to criticise. The role played by the band is that of a hero who fights against the conventions of his time. Psychedelia will be the common thread that will link the chapters of this study, focusing on the most significant works of the Beatles. Through the investigation of the albums analysed in this paper (“Rubber Soul”, “Revolver”, “Sgt. Pepper’s Lonely Hearts Club Band”, “Magical Mystery Tour”, “The Beatles [White Album]”, “Abbey Road” and “Let It Be”) it will be possible to understand how the band and the political and historical context influenced each other.
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Cappellano, Ana Paula. "Processo de criação da música pop e expansão dos registros de processo: o caso Let it Be - The Beatles." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/5319.
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Previous issue date: 2010-05-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The following dissertation intends to investigate the creative process of pop music from the study of the audiovisual format as a musical creative process register, the documentary film and the making of in particular. Relations and interactions between the music created in the music industry dynamics and the culture of the image, as well as with the expansion of the registers and documents of process of music, from the eletronic record to the video, are established. Pop music refers to that of the Culture Industry, of media insertion, especially mass media, such as the radio, the cinema and the television, and their production is seen as a wide creative network. The documentary Let it Be, by the British group The Beatles, filmed in 1969 and released in 1970, was chosen as case study and, from the processes critique approach and based on the theories of the work of art creative networks, by Cecília Almeida Salles, it is understood as register and index of the collective process of creation of the band. The movie is considered, from this perspective, a precursor of the audiovisual format known today as the making of and, based on their critical analysis, different moments and points of tension are recognised during the creation and recording of an album, nods of the pop music network. We seek to understand how the interactions among their members, the creative subjects, as well as with external factors to that specific process, characterized the collective process of creation of the group at that stage of their career<br>A seguinte dissertação pretende investigar o processo de criação da música pop a partir do estudo do formato audiovisual como registro de processo de criação musical, em particular, o gênero cinematográfico documentário e o formato audiovisual making of. São estabelecidas relações e interações entre a música criada na dinâmica da indústria fonográfica e a cultura da imagem, bem como com a expansão dos registros e documentos de processo da música desde a gravação eletrônica até o vídeo. Denomina-se música pop aquela da Indústria Cultural, de inserção nas mídias, especialmente as de massa, como o rádio, o cinema e a televisão e sua produção é vista como uma grande rede criativa. O documentário Let it Be, do grupo britânico The Beatles, filmado em 1969 e lançado em 1970, foi escolhido como estudo de caso e, a partir da abordagem da crítica de processos e da teoria das redes de criação da obra de arte, de Cecília Almeida Salles, é entendido como registro e índice do processo de criação coletivo da banda. O filme é considerado, nesta perspectiva, um precursor do formato audiovisual hoje denominado making of e, a partir da sua análise crítica, são reconhecidos diferentes momentos e pontos de tensão durante a criação e gravação de um álbum, nós das redes de criação da música pop. Procura-se entender como as interações entre seus integrantes, os sujeitos criativos, bem como com fatores externos àquele processo específico, caracterizavam o processo de criação coletivo da banda naquele ponto da carreira
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Paulin, Bruna do Amaral. "A construção das imagens das bandas The Beatles e The Rolling Stones através dos jornais The Times e The Guardian." Pontifícia Universidade Católica do Rio Grande do Sul, 2010. http://hdl.handle.net/10923/2237.
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Previous issue date: 2010<br>This present paper presents an analisys and history of the emergence, in British Media, of the bands The Beatles and The Rolling Stones, using the agenda-setting hypothesis, framing and construction of imaginary. This study is fixed in time during the years 1963 to 1967, in England – period of emergence and media explosion of the two groups – through the covering of The Times and The Guardian. This research has the objective of finding facts in newspapers articles, based in the construction of their images, through the publication of these articles.<br>Análise e história do surgimento, na mídia britânica, das bandas The Beatles e The Rolling Stones, utilizando as hipóteses de agenda setting, enquadramento e construção do imaginário. O estudo fixou-se entre os anos 1963 e 1967, na Inglaterra – período de surgimento e explosão midiática dos dois grupos – vista pela cobertura dos jornais The Times e The Guardian. A pesquisa busca fatos em artigos e matérias jornalísticas da imprensa britânica, baseadas na construção de suas imagens, através da publicação dessas reportagens.
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King, Martin S. ""Running like big daft girls" : a multi-method study of representations of and reflections on men and masculinities through "The Beatles"." Thesis, University of Huddersfield, 2009. http://eprints.hud.ac.uk/id/eprint/9054/.
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The aim of this thesis was to examine changing representations of men and masculinities in a particular historical period (“The Sixties”) and to explore the impact that this had in a period of rapid social change in the UK and the legacy of that impact. In order to do this, a multi-method study was developed, combining documentary research with a set of eleven semi-structured interviews. The documentary research took the form of a case study of The Beatles, arguing that their position as a group of men who became a global cultural phenomenon, in the period under study, made theme a suitable vehicle through which to read changing representations of masculinities in this period and to reflect on what this meant for men in UK society. The Beatles’ live action films were chosen as a sample of Beatle “texts” which allowed for the Beatles to be looked at at different points in the “The Sixties” and for possible changes over that time period to be tracked. Textual analysis within discourse analysis (based on a framework suggested by van Dijk [1993], Fairclough [1995] and McKee [2003]) was used to analyse the texts. Ideas advanced by the Popular Memory Group (1982) about the interaction of public representations of the past and private memory of that past were influential in the decision to combine this piece of documentary research with interviews with a sample of men, in an age range of 18 to 74. The interview stage was designed to elicit data on the perception of the participants of the role of representation (with particular reference to the Beatles) of masculinities on them as individuals and their ideas about how this may have had an impact in terms of longer term social change. Ehrenreich’s (1983) notion of a male revolt in the late 1950s, an emergence of a challenge to established ideas about men and masculinity, was also influential, particularly as it is an idea at odds with the “crisis in masculinity” discourse (Tolson, 1977; Kimmel, 1987; Whitehead, 2002) at work in a number of texts on men and masculinity. Examining further Inglis’ (2000b : 1) concept of The Beatles as “men of ideas” with a global reach, the chosen Beatle texts were examined for discourses of masculinity which appeared to be resistant to the dominant. What emerged were a number of findings around resistance, non-conformity, feminised appearance, pre-metrosexuality, the male star as object of desire and The Beatles as a global male phenomenon open to the radical diversity of the world in a period of rapid social change. The role of popular culture within this process was central to the thesis, given its focus on The Beatles as a case study. However, broader ideas about the role of the arts also emerged with a resultant conclusion that “the sixties” is where a recognition of the importance of representation begins as well as a period where representations of gender (as well as class and race) became more accessible due to the rise in popularity of TV in the UK and a resurgence in British cinema. The thesis offers a number of ideas for further research, building on the outcomes of this particular study. These include further work on the competing crisis/ revolt discourse at work in the field of critical men’s studies, ascertaining female perspectives on representations of masculinities and their impact, further work on the Beatles through fans and an application of some of the ideas at work in the thesis to other periods of British history.
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Paulin, Bruna do Amaral. "A constru??o das imagens das bandas The Beatles e The Rolling Stones atrav?s dos jornais The Times e The Guardian." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2010. http://tede2.pucrs.br/tede2/handle/tede/4408.
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Previous issue date: 2010-03-31<br>An?lise e hist?ria do surgimento, na m?dia brit?nica, das bandas The Beatles e The Rolling Stones, utilizando as hip?teses de agenda setting, enquadramento e constru??o do imagin?rio. O estudo fixou-se entre os anos 1963 e 1967, na Inglaterra per?odo de surgimento e explos?o midi?tica dos dois grupos vista pela cobertura dos jornais The Times e The Guardian. A pesquisa busca fatos em artigos e mat?rias jornal?sticas da imprensa brit?nica, baseadas na constru??o de suas imagens, atrav?s da publica??o dessas reportagens.
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Bojana, Vujin. "Poezija britanske popularne kulture 20. veka: poetika i hermeneutika." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2014. http://www.cris.uns.ac.rs/record.jsf?recordId=90693&source=NDLTD&language=en.
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Tema ovog rada jeste poezija britanske popularne kulture dvadesetog veka, odnosno, stihovi pop i rok pesama britanskih muzičkih autora. Polazna teza disertacije jeste to da se tekstovi popularnih pesama mogu smatrati poezijom, te da se uobičajene metode koje se koriste pri analizi tradicionalnog pesničkog stvaralaštva mogu upotrebiti i kada je reč o pop i rok tekstu.Iako se popularna muzika odavno posmatra kao bitan činilac u kulturi dvadesetog i dvadeset prvog veka, i kao takva jeste predmet brojnih kritičkih studija, primećuje se iznenađujuća činjenica da se te studije uglavnom bave njenom kulturološko-sociološkom ulogom, zbog čega je i istražuju upravo iz tog ugla. Za razliku od njih, ovaj rad se usredsređuje na pesničke elemente popularne muzike (poetika), i to tako što ih tumači kao i svaki drugi književni tekst (hermeneutika). Ponekad se ovoj analizi dodaje i muzikološka, jer se značenje popularnih pesama stvara kombinacijom tekstualnog i muzičkog aspekta.U odabiru bendova koji su postavljeni u središte analize od velike koristi bila je teorija Kira Kitlija (Keir Keightley) o romantičarkoj i modernističkoj autentičnosti popularne muzike. S obzirom na to da su studije popularne muzike uglavnom posvećene romantičarsko autentičnim stvaraocima, predmet istraživanja ove disertacije jesu tri modernističko autentične grupe, a to su Bitlsi (The Beatles), Kvin (Queen) i Mjuz (Muse). Njihovi tekstovi su tematski podeljeni u četiri grupe: pesme o ljubavi, narativne pesme, pesme o unutrašnjem svetu i pesme o spoljašnjem svetu; i analizirani su u skladu sa takvom podelom.Nakon izvršene analize, izveden je zaključak da se tekstovi rok i pop pesama uistinu mogu smatrati poezijom, čak i kada stihovni element neke pesme služi pre svega kao pratnja muzičkom. Na ovaj način, utvrđeno je da pop i rok poeziji i te kako pripada mesto u širokoj i raznorodnoj oblasti pesničkog stvaralaštva.<br>The topic of this research was the poetry of 20th century British popular culture, i.e., the lyrics of pop and rock songs written by British authors. The basic thesis of the dissertation was the idea that popular music lyrics can be considered to be poetry, and that the usual methods used to analyse traditional poetry can thus also be used in the analysis of pop and rock lyrics.Even though popular music has long been considered a valuable factor in the 20th and 21st century culture, therefore being the topic of numerous critical studies, most of these studies have, surprisingly, been focused almost exclusively on the culturological and sociological importance of popular music and have thus approached it accordingly. This research is instead focused on its poetical elements (poetics), interpreting them as it would any other kind of literary text (hermeneutics). Sometimes, musicological element is also added to the analysis, given that the meaning of popular songs is created by the combination of both text and music.Keir Keightley’s theory of Romantic and Modernist authenticity in music has been greatly helpful in choosing the bands on which the research was to focus. Since popular music studies mostly deal with Romantic authenticity, three bands which display Modernistviiauthenticity – The Beatles, Queen, and Muse – were here chosen as subjects instead. Their lyrics were divided into four thematic groups: songs about love, narrative songs, songs about the inner world, and songs about the outer world; they were analysed according to these thematic focuses.After the analysis was done, the following conclusion was drawn: pop and rock lyrics can indeed be considered poetry, even when the textual element is only secondary to the musical one. It has thus been proved that pop and rock texts should be regarded as part of the vast and varied area of poetry in general
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Peterson, Douglas W. L. "Liberation Pop Theology: An Exploration Of The Different Ways Pop Musicians Have Led Individuals To Greater Salvation." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/949.
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God never died as scholars of secularization theory from the 1960s and 1970s proposed that he eventually would, but He rather reappeared within the context of Pop music. This work analyzes the lives and music of Yusuf Islam a.k.a. Cat Stevens, Kanye West, Bob Dylan, and George Harrison in order to see how their inner quest for peace brought upon by religious conversion affected their supreme message. Once the artists realized the phenomenal peace found in experiencing personal relationships with the Divine, their music changed so as to inspire others to seek the same greater freedoms from which they benefited upon turning within. These four elite members of secular society did not privatize their faiths, and by sharing their new found beliefs with the world, they turned the minds of millions Godwards.
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Langeo, Gaëlle. "Jeunesse, culture, société en Grande-Bretagne 1978-2009 : l'exemple du "Hitchhiker's Guide to the Galaxy"." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30039.
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Cette recherche porte sur The Hitchhiker’s Guide to the Galaxy, une série de science-fiction humoristique britannique créée pour la BBC Radio 4 en 1978. Sur la période étudiée (1978 – 2009), la série a été déclinée sur tous les supports que peut offrir la culture de masse. Dans les premières années, la série trouve un écho important auprès des adolescents, des étudiants et des jeunes adultes. L’auteur de la série - Douglas Adams - a gardé la main sur toutes les incarnations de Hitchhiker’s. Au cours de sa vie, l’auteur de cette science-fiction qui veut faire rire a progressivement été qualifié de « gourou de la technologie » par la presse. Les grandes passions de Douglas Adams étaient effectivement au nombre de quatre : les ordinateurs, l’évolution des espèces, les Beatles et les Monty Pythons. Cette recherche s’attache donc à comprendre comme ces quatre éléments se sont articulés dans la vie de Douglas Adams, l’influence qu’ils ont eu sur Hitchhiker’s et ce que le succès de la série dit des évolutions de la société britannique. The Hitchhiker’s Guide to the Galaxy arrive à un moment où les attentes changent en matière de comédie, comme le montre l’essor de l’Alternative Comedy. La percée de Hitchhiker’s se déroule aussi dans un contexte où la technologie prend de l’importance dans la vie quotidienne et où la culture geek prend forme, à la croisée des mondes imaginaires et de l’informatique. Le retentissement de la série peut aussi se voir comme un témoignage de l’existence de ce que le sociologue Mike Savage a appelé la classe moyenne technique. Par ailleurs, en voulant créer un album de rock pour la radio, Douglas Adams a produit une fiction en adéquation avec l’univers sonore de la jeunesse des années 1970. La technologie du studio stimule la créativité, tout comme l’ordinateur personnel le fera dans les années 1980<br>This research focuses on The Hitchhiker’s Guide to the Galaxy, a British science-fiction comedy series created for BBC Radio 4 in 1978. Over the study period (1978-2009), the series was provided to the public in all possible formats that mass culture can offer. In its first years the series attracted a strong audience among teenagers, students and young adults. Douglas Adams, the series’ author, maintained control over all the incarnations of The Hitchhiker’s Guide to the Galaxy. Over the course of his life, the author of this science fiction series, made to make people laugh, gradually became known as a ‘‘technology guru” by the press. Indeed, Douglas Adams had four great passions : computers, evolution of species, the Beatles and the Pythons. Therefore, this research endeavours to understand how these four topics were expressed in Douglas Adams’ life, the influence they had on Hitchhiker’s and how this series’ success shows the evolution of British society. The Hitchhiker’s Guide to the Galaxy occurs at a time when expectations towards comedy were changing, as shown by the rise of Alternative Comedy. Hitchhiker’s breakthrough also takes place at a time when technology was gaining importance in daily life and geek culture was developing, at the crossroads of imaginary worlds and computer science. The series’ impact can also be considered as evidence of what the sociologist Mike Savage called the technical middle class. In addition, by creating a rock album for the radio, Douglas Adams created a fantasy consistent with the musical universe of the 1970s youth. The technology used in the radio studio stimulates creativity, just like the personal computer will do in the 1980s
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Gómez, Nora M. "Iconografía diabólica e infernal en la miniatura medieval hispana. Los beatos." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/386413.
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La investigación se ha centrado en la iconografía diabólica e infernal en el corpus de los Beatos hispanos, entre la segunda parte del siglo X y las primeras décadas del XIII. En una primera parte se ha indagado acerca de la conceptualización de la personificación del mal en la figura del Diablo y en cómo imaginaron el Infierno las culturas antiguas de la cuenca del Mediterráneo. Se ha dedicado particular interés a las Escrituras canónicas judeocristianas que determinarían la austeridad representativa de las primigenias imágenes de nuestro objeto de estudio, en consonancia con los planteos teológicos de la Patrística temprana.
Debido a que las imágenes acompañan al "Comentario al Apocalipsis" de Beato de Liébana, se ha contextualizado la producción hispana dentro del panorama artístico europeo en lo referente a la ilustración del Libro de la Revelación; se han consultado y analizado los escritos apocalípticos extracanónicos y la tradición oral u escrita musulmana como posibles fuentes iconográficas a la hora de representar a los personajes y los lugares del más allá.
El trabajo incluye el relevamiento completo de once escenas en que las fuerzas del mal operan en la era escatológica y luego son derrotadas y aprisionadas en la estancia punitiva, en todo el corpus de veintisiete códices. Su análisis demuestra que mientras la iconografía se mantiene fiel a la tradición hispana de sus primeros ejemplares, el estilo se va adaptando a los lineamientos formales del románico, en función de la internacionalización de dicho estilo.
El apéndice fotográfico reúne por primera vez la totalidad de las imágenes diabólicas e infernales en el corpus beatiano.<br>The research has focused on the diabolical and infernal iconography in the corpus of Hispanic Beatus, between the second half of the tenth century and the first decades of the thirteenth. In the first part has inquired about the personification of evil in the figure of the Devil and how Hell was imagined in ancient cultures of the Mediterranean basin. It has devoted particular interest to judeochristians canonical Scriptures that would trigger austerity representative of the primordial images of our object of study, consistent with the theological proposals of the early Fathers.
Because the images are accompanying the "Commentary on the Apocalypse" of Beatus of Liebana, it has contextualized the Hispanic production in the European art scene and has analyzed the apocalyptic writings extracanonical and oral or written Muslim tradition as possible iconographic sources when representing the characters and the places of the Other World.
The work includes the full survey of eleven scenes in which the forces of evil operating in the eschatological age and then are defeated and imprisoned in punitive stay throughout the corpus of twenty codices. Their analysis shows that while the iconography is faithful to the hispanic iconography tradition of its first copies, the style adapts to the formal guidelines of Romanesque, depending on the internationalization of that style.
The photographic appendix meets for the first time all the diabolical and infernal images in the twenty seven copies of the Beatus.
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Crooker, Matthew R. "Cool Notes in an Invisible War: The Use of Radio and Music in the Cold War from 1953 to 1968." Wright State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wright1559565327720453.
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Santos, Flávia Vieira da Silva. "Análise foucaultiana na organização de documentos na web." Universidade Federal de São Carlos, 2013. https://repositorio.ufscar.br/handle/ufscar/1121.
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Previous issue date: 2013-09-25<br>In 1966, began several comments about the possibility of the death of Paul McCartney, The Beatles band member allegedly occurred in a car accident. This event went beyond the scope of the comments sparse, took shape in various media and entered the scientific field. The objective was to understand aspects of the discourse theory, as proposed by Michel Foucault, applying it in web texts in view the need of organizing collections in the field of Information Science. As a sample, we apply some of the principles of this theory in a corpus of artistic imprint, and analyze texts found on the web from the statement "death of Paul McCartney." Therefore, we adopted the Foucault´s concepts Science and Knowledge , Comment and Archive . The mobilization of the Foucault´s theory allowed the description of the documents correlates and composed a specific discursive archive on the subject, coming from various genres, media and materiality. As a result, the discursive archive presented in this work, such as sampling, on the theme death of Paul McCartney , was represented by infographic, showing the relationships among multiple documents. From the discussions undertaken around the field of Discourse Analysis of Foucault and some parameters of how information have been made available on the web with subsidies arising from theories of Information Science was still possible to trace relationships aiming possibilities of this science is to bolster also in Discourse Analysis of Foucault, in search of a new way to analyze, organize and make available content on the web universe.<br>Em 1966, iniciaram-se comentários diversos sobre a possibilidade da morte de Paul McCartney, integrante da banda The Beatles, supostamente ocorrida em um acidente de carro. Este acontecimento extravazou o âmbito dos comentários esparsos, tomou corpo em diversas mídias e adentrou o campo científico. O objetivo foi compreender aspectos sobre a teoria discursiva, como proposta por Michel Foucault, aplicando-a em textos da web, tendo em vista a necessidade da organização de acervos no campo da Ciência da Informação. Como amostragem, aplicamos alguns dos princípios deste teórico em um corpus de cunho artístico, e analisamos textos encontrados na web a partir do enunciado morte de Paul McCartney . Para tanto, foram adotados os conceitos foucaultianos sobre Ciência e Saber , Comentário e Arquivo . A mobilização desta teoria foucaultiana permitiu que a descrição dos documentos se correlacionasse e compusesse um arquivo discursivo específico sobre o tema, oriundo de diversos gêneros, suportes e materialidades. Como resultado, o arquivo discursivo apresentado neste trabalho, como amostragem, sobre o tema morte de Paul McCartney , foi representado através de infográfico, demonstrando as relações entre os múltiplos documentos. A partir das discussões empreendidas em torno do campo da Análise do Discurso de Foucault e de alguns parâmetros de como a informação vêm sendo disponibilizada na web com subsídios advindos de teorias da Ciência da Informação foi possível, ainda, traçar relações visando possibilidades desta Ciência se amparar também na Análise do Discurso de Foucault, em busca de uma nova maneira de analisar, organizar e disponibilizar conteúdos disponíveis no universo da web.
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Mundt, Felix Rhenanus Beatus. "Beatus Rhenanus : Rerum Germanicarum libri tres (1531) : Ausgabe, Übersetzung, Studien /." Tübingen : M. Niemeyer, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783484366275.
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Bundy, Christopher. "Big in Japan the novel /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/english_diss/41/.
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Thesis (Ph. D.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed July 22, 2010) Sheri Joseph, committee chair; John Holman, Josh Russell, committee members. Includes bibliographical references (p. 38).
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Petersen, Tamar. "The Beat's Interior." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/78846.
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The Beat's Interior seeks to answer the simple question: What does the inside of a beat look like? This thesis provides a solution as an audiovisual projection-mapping project inspired by the song, "Pyramids" by Frank Ocean. It explores the relationship between music and architecture. Influenced by scientific theories of cosmic space and the philosophical ideas of space and rhythm, this installation becomes an immersive experience within a constructed form.
Original video is mapped onto the skin of the dome using four projectors that are orchestrated through Madmapper. Eight individual parts of a single track are played separately on designated stereos located on the periphery of the room. Changes in the video and music are triggered by GyrOSC data filtered into Max/MSP/Jitter.<br>Master of Fine Arts
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Roche, Michael William. "The Beaten Pathos." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/53997.
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The Beaten Pathos is a manuscript of poems written by a shelter dog--a shelter dog whose distrust of both his reader-dogs and himself amplifies his need to communicate. More often than not, the result is a poem borne of an imagination both ostentatiously loud and cutting at an oblique angle, like a miter saw. Additionally, a handful of poems are muted and cool (like Miles Davis' trumpet), and, consequently, more direct in their expression of the poet's emotional vulnerability. Whether the poems in this manuscript are of the miter-saw or trumpet variety, their speakers--although frequently not equipped to do so--are earnest about getting and/or making even the most sideways of things right.<br>Master of Fine Arts
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Consiglieri, Nadia Mariana. "La représentation zoomorphique dans les Beatus (ca. 900-1235). Une étude sur la rhétorique visuelle et la matérialité plastique de sa faune Apocalyptique." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP019.
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Cette thèse de doctorat porte sur les rôles rhétoriques des éléments visuels dans les représentations zoomorphes dans les Beatus. Ces manuscrits enluminés ont été produits principalement dans la zone ibérique, mais aussi en territoire français et italien pendant les Xe et XIIIe siècles ; la période dans laquelle le Commentaire à l'Apocalypse du Beatus de Liébana a été copié par une grande assiduité au sein des scriptoria monastiques. Selon sa provenance et l’époque d'exécution, les versions des animaux sont modifiées. Les différentes figures animales sont structurées à partir des pôles du sacré au diabolique en continuité avec la classification isidorienne basée sur les opposées domestication- bestialité présente dans leurs Etymologiae. Nous établirons l'hypothèse dont ces représentations zoomorphes chez les Beatus portent des fonctions idéologiques et rhétoriques en agissant comme structures effectives de soutènement du contenu eschatologique du Commentaire dans la lectio monastique<br>This PhD thesis proposes to research the rhetorical roles of visual elements in the zoomorphic representations of Beatus manuscripts. These illuminated codex were mainly produced in the Iberian region but also in French and Italian territory between the 10th and 13th centuries ; the time when the Commentary on the Apocalypse of the Beatus of Liébana was copied by great assiduity in monastic scriptoria. Depending on its origin and the period of execution, the versions of their animals were modified. In this regard, the different animal figures are structured in these manuscripts from the sacred and devil poles in continuity with the Isidorian classification based on the opposite concepts domestication- bestiality of their Etymologiae. We will demonstrate that these zoomorphic representations in Beatus codex acquire ideological and rhetorical functions by acting as effective support structures for the eschatological contents of the Commentary in the activity of monastic lectio
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Wolfe, Sheila Pugh. "The Early Morgan Beatus (M644) : problems of its place in the Beatus pictorial tradition /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487598303838813.
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Holmberg, Johan. "Ephrins off the beaten path /." Stockholm, 2003. http://diss.kib.ki.se/2003/91-7349-720-7.
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Rhenanus, Beatus Mundt Felix. "Rerum Germanicarum libri tres (1531) ; Ausgabe, Übersetzung, Studien." Tübingen Niemeyer, 2007. http://d-nb.info/987125087/04.
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Favoreto, Fabiana Pedroni. "A orquestração do ornamento no Beatus de Facundus." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-19082016-151643/.
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A partir do estudo das imagens do Beatus de Facundus, manuscrito produzido em Leão e Castela no século XI, esta dissertação trata do poder do ornamento de tomar posse da matéria da imagem e a fazer funcionar segundo sua ordenação. Distanciamos o conceito de ornamento da redução a um elemento decorativo, para restituir-lhe a potencialidade funcional presente em sua origem etimológica nos termos de ornamentum e kosmos. O ornamento assume diversas funções além de uma decoração honorífica. Ele trabalha associado ao símbolo, à iconografia, à memória e aos elementos composicionais da imagem ao exercer funções moduladora e estrutural. Seu trabalho torna a imagem uma máquina, um corpo material complexo e funcional. O ornamento é uma beleza honorífica que pode ser assumida por qualquer elemento composicional, desde os mais figurativos aos mais abstratos, como as cores. Com respaldo nos conceitos, sobretudo, de imago, figura (Didi-Huberman), imagemobjeto (Jérôme Baschet), ornamental e ornamentalidade (Jean-Claude Bonne), abordamos o ornamento, no Beatus de Facundus, como um elemento que gere uma estrutura dialógica através de seu poder de orquestração. Desse modo, este estudo constitui um esforço de circunscrever um livro e lhe permitir mostrar seu corpo e seu trabalho através de suas próprias ferramentas.<br>From the study of images of Beatus of Facundus, that is a manuscript produced in the kingdom of Castile and Leon, in the eleventh century, this dissertation deals with the \"power of the ornament\" to take hold of the material of image and to make it work according to their ordination. We distance the concept of ornament from the reduction to a decorative element, to restore his functional potentiality, that is present in his etymological origin, in the terms of ornamentum and kosmos. The ornament takes many functions besides an honorific decoration. It works associated with the symbol, the iconography, the memory and the compositional elements of the image by exercising modulating and structural functions. Its work turns the image into a machine, a complex and functional material body. The ornament is an honorific beauty that can be assumed by any compositional element, from the more figurative to more abstract, like the colors. With endorsement of some concepts, especially of imago, figure (Didi-Huberman), image-object (Jérôme Baschet), ornamental and ornamentality (Jean-Claude Bonne), we approach the ornament, in the Beatus of Facundus, as an element that generates a dialogic structure through its power of orchestration. In this manner, this study constitutes an effort to circumscribe a book and allow it to show its body and its work through its own tools.
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Arbus, Theodor. "Effektivisering av hip-hop beats : Att göra fler beats på kortare tid." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-98717.
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I det här arbetet har jag jämfört två olika arbetssätt för att ta reda på hur jag kan effektivisera mitt skapande av hip-hop beats. Det första arbetssättet gick ut på att göra fyra beats per dag under en arbetsvecka så jag till slut hade 20 beats. Varje beat har inte tagit mer tid än en timme och är gjorda direkt efter varandra med en kvarts rast mellan beatsen. I det andra arbetssättet hade jag inte lika hård tidspress på mig. Jag gjorde då bara ett beat per dag under en veckas tid, så att jag fick fem beats totalt. Därefter upprepade jag de två olika arbetssätten under de kommande två veckorna och fick i slutänden 50 beats på fyra veckor. Jag ville ta reda på vilket av dessa två arbetssätt som gav mig flest beats som jag är nöjd med och som är färdiga att skicka till artister. Jag kom fram till att fyra beats per dag gav mig fler beats som jag blev nöjd med. Jag har även analyserat vilka metoder och workflows som fungerar bäst för mig när jag har gjort mina entimmes-beats och även gjort en uppskattning av beatsens hit rate.
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Sedorkin, Barbara. "The social construction of the wife beater /." Title page, contents and introduction only, 1987. http://web4.library.adelaide.edu.au/theses/09AR/09ars449.pdf.
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SALIS, ELISABETTA. "L'iconografia apocalittica nei Beatos IX-XIII secolo." Doctoral thesis, Università degli Studi di Cagliari, 2016. http://hdl.handle.net/11584/266736.
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The Beatus manuscripts are copies of Commentary on the Apocalypse, a book which was written in the eighth century by Beatus of Liébana.
These codes are famous because they have many illuminations of Apocalypse and book of Daniel that accompany the text.
This thesis aims to understand if these written sources may have been the transmission medium of iconographic models between the different cultures that lived in the Iberian Peninsula after 711.
In order to achieve this goal it was created a catalogue with all the manuscripts preserved until today.
On the one hand, the catalogue makes available a part dedicated to a codicological description. On the other hand, it provides a comprehensive iconographic analysis.
The catalogue shows that in these codes are used recurring iconographic elements.
Especially, the illuminations reproduce the real architecture; thus, the reader can find references to what he/she knows.
In addition to architecture, these references concern the use of Kufic script as decoration in the same style of Muslim. Moreover, the illuminations depict the people sitting in the Muslim manner. This sheds light on how actually there was a mutual exchange between the cultures that lived in the Iberian Peninsula.
Therefore, these written sources should have really been the transmission medium of iconographic models.
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Englund, Kasper, and Adam Holm. ""Knulla beatet!" : En diskursteoretisk studie av ungdomars hiphopidentitet." Thesis, Uppsala universitet, Sociologiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-273703.
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Hiphopen har i alla tider varit en kultur och musikgenre präglad av genus-, klass- och ras/etnicitetsnormer kring sin egen, liksom utövarnas, identitet. Detta har både visat sig i att den normativa hiphoparen historiskt varit rasifierad, man och arbetarklass (ofta alla tre), och att icke- normativa hiphopare såsom kvinnor och hbtq-personer inte fått sin rättmätiga plats i historieskrivningen, till förmån för detta bestämda hiphop-narrativ. I takt med att hiphopen vunnit populärkulturell mark genom att bli alltmer inflytelserik både som genremässig trendsättare och politisk kraft, i synnerhet under 2010-talet, har hiphopens normer börjat sättas i gungning. Syftet med denna studie har därför varit att undersöka hur ungdomar i en studiecirkel i hiphopskapande på olika sätt positionerar sig inom hiphopsfären och på så vis konstruerar en viss hiphop-identitet. Enskilda intervjuer med ungdomarna, såväl som observationer av dem i grupp, har analyserats utifrån Ernesto Laclau & Chantal Mouffes diskursteoretiskt perspektiv och Judith Butlers performativitetsteori. I materialet utlästes i första hand en konfliktlinje mellan en diskurs som på många sätt slår vakt om ovannämnda hiphopnarrativ och en som bryter mot det. Denna antagonism var dock tydligast i intervjumaterialet medan hiphopen i observationer av studiecirkeln konstrueras som maskulin och ”förort” genom en ras/etnicitets- och klassöverskridande maskulinitetsdiskurs. I att denna hiphopidentitet så kontinuerligt och oavbrutet görs urskiljer vi dock sprickor, queera läckage, vilket pekar på genrens förändringspotential och att normbrytare inom en alltmer diversifierad hiphopkultur kan spela en viktig roll. Såväl antagonismer som läckage menar vi är symptomatiska för hiphopens nuvarande expansiva fas där en allt större del av den blir en del av mainstreamfåran och allt fler människor, oavsett bakgrund, kan delta i och ta del av den. Detta menar vi är relevant att undersöka ytterligare om vi vill förstå hiphopen i sig och relationen musik-samhälle, liksom ungdomars identitetsskapande ur ett intersektionellt perspektiv.
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Andrade, Silvana Bento. "CaldeirÃo: resÃduos do medievo na Guerra dos Beatos." Universidade Federal do CearÃ, 2009. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4179.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>A presente pesquisa, vinculada à linha Literatura e HistÃria, tem como propÃsito apresentar as remanescÃncias da mentalidade e da cultura medievais no romance CaldeirÃo (1982) do escritor cearense ClÃudio Aguiar. Para focalizarmos as incorporaÃÃes culturais da Idade MÃdia na matÃria social representada nesse romance histÃrico, empregamos o arcabouÃo teÃrico e metodolÃgico da Teoria da Residualidade, desenvolvido pelo Prof. Dr. Roberto Pontes. Esse mÃtodo investigativo està certificado junto à Universidade Federal do Cearà e ao CNPq, sob o tÃtulo Estudos de Residualidade Cultural e LiterÃria. Define-se como residual tudo aquilo que remanesce, que resta ou sobrevive de uma cultura passada para outro momento histÃrico, permanecendo como elemento ativo, pronto a ser resgatado, aprimorado e reutilizado, pois conserva sua forÃa vigorante. Esse aprimoramento ou refinamento, em sua nova forma, Roberto Pontes chama de cristalizaÃÃo. Como o resÃduo permanece em estado latente na mentalidade, em constante possibilidade de uso, infinita à sua potencialidade de cristalizaÃÃes. Roberto Pontes tambÃm assinala que a residualidade abrange as noÃÃes de tempo e de espaÃo, o que proporciona a hibridaÃÃo cultural relativa a crenÃas e costumes. Como manifestaÃÃo estÃtica situada em determinado perÃodo histÃrico, a obra literÃria contribui para a apreensÃo de sua conjuntura sÃcio-cultural. Este trabalho se divide em trÃs momentos, respectivamente, a formaÃÃo da comunidade messiÃnica com enfoque na religiosidade popular; o desenvolvimento socioeconÃmico fundamentado no sistema agrÃrio familiar e no comunismo cristÃo primitivo; e a destruiÃÃo da comunidade, com destaque para o imaginÃrio da violÃncia. Destacam-se, para anÃlise, substratos mentais do modus vivendi, tais como a religiosidade popular manifesta no movimento messiÃnico-social, os usos e costumes da comuni-dade, as crenÃas e superstiÃÃes, os valores e comportamentos tradicionais do sertÃo, recolhidos da oralidade e dos registros jornalÃsticos pelo autor de CaldeirÃo, os quais permanecem vigorantes na memÃria coletiva no Nordeste brasileiro. Depreende-se desse enfoque a residualidade cultural dos valores medievais, notadamente no universo sertanejo cearense, a fim de comprovar a hibridaÃÃo cultural.<br>Esta investigaciÃn està vinculada a la lÃnea de pesquisa de Literatura e Historia y tiene por propuesta presentar los restos de la mentalidad y la cultura de la Edad Media en la novela CaldeirÃo (1982) del escritor cearense Claudio Aguiar. Para centrarse en las incorporaciones culturales de la Edad Media en la historia social representada en esta novela, se emplean los fundamentos teÃricos y metodolÃgicos de la Teoria de la Residualidad Cultural y Literaria, desarrollada por el Prof. Dr. Roberto Pontes. Este mÃtodo de investigaciÃn està aprobado por la Universidade Federal de Cearà y por CNPq, con el tÃtulo de Estudios de Residualidad Cultural y Literaria. Se define como residual de todo lo que queda, que sobrevive o resta de una cultura pasada en otro momento histÃrico, permaneciendo como un elemento activo, listo para ser restaurado, mejorado y reutilizado, pues conserva su fuerza vigorante. Este mejoramiento o refinamiento, en su nueva forma, Roberto Pontes llama cristalizaciÃn. Como el residuo permanece latente en la mentalidad, en constante capacidad de aplicaciÃn, su potencial es infinito para las cristalizaciones. La residualidad tambiÃn incluye las nociones de tiempo y espacio, que ofrece la hibridaciÃn cultural en las creencias y costumbres. Como una manifestaciÃn estÃtica situada en de-terminado perÃodo de la historia, la obra literaria contribuye a la asimilaciÃn de su situaciÃn socio-cultural. Este trabajo se divide en tres etapas, respectivamente, la formaciÃn de la comunidad mesiÃnica con enfoque sobre la religiÃn popular; el desarrollo socioeconÃmico basado en el sistema agrario de la familia y el comunismo cristiano primitivo; y la destrucciÃn de la comunidad, especialmente el imaginario de la violencia. Se destacan, para el anÃlisis, los substratos mentales del "modus vivendi", como la religiosidad popular que se manifiesta en el movimiento mesiÃnico-social, los hÃbitos y las costumbres sociales de la comunidad, las creencias y supersticiones, los valores y comportamientos tradi-cionales del interior, recogidos de los registros orales y periodÃsticos por el autor de CaldeirÃo, los cuales siguen siendo vigorantes en la memoria colectiva del nordeste de Brasil. Se infÃren de este enfoque los resÃduos culturales de los valores medievales, sobre todo en el universo sertanejo del CearÃ, con el fin de demostrar la hibridaciÃn cultural.